BIBLIOGRAPHY

BIBLIOGRAPHY

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Appian.Appiani Alexandrini Romanarum Historiarum quae Supersunt Graece et Latine cum Indicibus.Didot. Paris, 1877.

The Roman History of Appian of Alexandria. Translated from the Greek by Horace White. 2 vols. London, George Bell & Sons, 1899.

Civil Wars. 1578. Extract from the Second Book. (New Shakespeare Society Trans. 1875–6. Part 2. Append. 4. London, 1877.)

An Auncient Historie and exquisite Chronicle of the Romanes warres, both Civile and Foren Written in Greeke by the noble Orator and Historiographer, Appian of Alexandria.... Translated out of divers languages, and now set forth in Englishe, according to the Greeke text, taken out of a Royall Librarie: by W. B.... Imprinted at London by Raulfe Newberrie and Henrie Bynniman, Anno 1578.

Ayres, Harry Morgan.Shakespeare’s “Julius Caesar” in the Light of Some other Versions. In American Modern Language Association Publications, June, 1910. Vol. 25, No. 2.

Beumelberg, Hugo.Sir William Alexander, Graf von Stirling als Dramatischer Dichter.Dissertation, Halle, 1870.

Bertana, Emilio.La tragedia.Milano, Vallardi, 1904.

Brandes, George.William Shakespeare. A Critical Study. Two vols. New York, Macmillan & Co., 1898.

Cambridge History of English Literature.Ed. by A. W. Ward and A. R. Waller. Vol. IV. Cambridge Univ. Press, 1910.

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Collischonn, G. A. O.Jacques Grévin’s Tragödie “Caesar” in ihrem Verhältniss zu Muret, Voltaire und Shakespeare. In Ausgaben und Abhandlungen aus dem Gebiete der Romanischen Philologie, veröffentlicht von E. Stengel—No. 52. Marburg, N. G. Elwert’sche Verlagsbuchhandlung, 1886.Contains reprint of Grévin and Muretus.

Craik, George L.The English of Shakespeare, illustrated in a Philological Commentary on his “Julius Caesar.” London, Chapman & Hall, 1857.

Cunliffe, John W.Early English Classical Tragedies. Oxford, Clarendon Press, 1912.

The Influence of Seneca on Elizabethan Tragedy. London, Macmillan & Co., 1893; New York, reprint by G. E. Stechert, 1907.

De Sanctis, Natale.G. Cesare e M. Bruto nei poeti tragici. Palermo, Reber, 1895.

Dion Cassius.Dio’s Rome. Translated by Herbert Baldwin Foster. Troy, N. Y., Pafaeto Book Co., 1905.

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Farmer, Richard.On the Learning of Shakespeare; addressed to Joseph Craddock. London, printed for T. Longman, 1789.

Flamini, Francesco.A History of Italian Literature, (1265–1907)—translated by Evangeline M. O’Connor, with an Introduction by William Michael Rossetti. Published 1907, by the National Alumni.

Fleay, Frederick Gard.A Chronicle History of the Life and Work of William Shakespeare. New York, Scribner and Welford, 1886.

Article on “Julius Caesar” in Shakespeare Society Publications for 1874. London, Trübner and Co.

Fontanini, Giusto.Biblioteca dell’ eloquenza italiana con le annotazioni del Sig. Apostolo Zeno. Pasquali, 1753. 4 vols.

Fonte, Michelangelo (Paolo Beni).Il Cavalcanti. In Padova, per Francesco Bolzetta, 1614.

Fowler, William Warde.The Tragic Element in Shakespeare’s “Julius Caesar.” In Trans. Royal Society of Literature. Second Series. Vol. XXX, Part 2. London, Asher & Co.

Garnier, Robert.Cornelie—In Sammlung Französischer Neudrücke, herausgegeben von Karl Vollmöller. Heilbronn, Verlag von Gebr. Henninger, 1881.

Cornelia—translated by Thomas Kyd. In R. Dodsley—A Select Collection of Old Plays. In twelve vols. Second Edition. Vol. II. London. Printed by J. Nichols. 1780.

Gaspary, Adolf.Geschichte der Italienischen Litteratur.2 vols.

Ginguené, P. L.Histoire Littéraire d’Italie.Paris. L. G. Michaud—2d Ed.—1824.

Gervinus, G. C.Shakespeare Commentaries. Trans. by F. E. Bunnett. New York, Scribner, Wilford & Armstrong, 1875.

Gerini, G. B.Gli scrittori pedagogici italiani nel secolo decimo settimo. Collezione di libri d’instruzione e di educazione. Torino, G. B. Paravia e Comp, 1900.

Jahrbuch der Deutschen Shakespeare Gesellschaft.Weimar & Berlin.

Jameson, Anna.Shakespeare’s Heroines—Characteristics of Women: Moral, Poetical and Historical. London.

Kreyssig, Friedrich.Vorlesungen über Shakespeare, seine Zeit und seine Werke. Dritte Auflage. 2 vols. Berlin, Nicolaische Verlags-Buchhandlung, 1877.

Lee, Sidney.A Life of William Shakespeare. New York, Macmillan & Co., 1889.

The French Renaissance in England. An Account of the Literary Relations of England and France in the Sixteenth Century. New York, Charles Scribner’s Sons, 1910.

Foreign Influences on Shakespeare—in Great Englishmen of the 16th Century. London, 1904.

Lydgate, John.A treatise, excellent and compendious, showing and declaring in manner of Tragedy, the falls of sundry most notable Princes and Princesses.... First compyled in Latin by the excellent Clerke Bocatius an Italian borne, and sence that tyme translated into our English and Vulgare tong by Dan John Lidgate, Monke of Butye. And more newly imprynted, corrected and augmented out of diverse and sundry olde writen copies in parchment. In aedibus Richard Tottelli cum privelegio. No date, but apparently the edition printed by John Wayland, 1558.

Lucan.Pharsalia. Rowe’s Translation. In Works of English Poets by Alexander Chalmers. Vol. XX.

Pharsalia. Edited with English notes by C. E. Haskins, with an introduction by W. E. Heitland. London, George Bell and Sons, 1887.

MacCallum, M. W.Shakespeare’s Roman Plays and their Background. London, Macmillan & Co., 1910.

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Moulton, Richard G.Shakespeare as a Dramatic Artist. Third Edition. Revised and enlarged. Oxford, Clarendon Press, 1893

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P. Ovidius Naso ex recognitione Rudolphi Merkelii. Lipsiae, in aedibus B. G. Teubneri, MDCCCLXXXIV.

The XV Bookes of P. Ovidius Naso, entytuled Metamorphoses, translated oute of Latin into English meeter by Arthur Golding, 1575.

Pescetti, Orlando.“Il Cesare.” Girolamo Discepolo. Verona, 1594.

Plutarch.Shakespeare’s Plutarch. Being a Selection from the Lives in North’s Plutarch which illustrate Shakespeare’s Plays. With a Preface, Notes, Index of Names and Glossarial Index. By Rev. Walter W. S. Keat. London, Macmillan & Co., 1892.

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Schelling, Felix E.Elizabethan Drama. 1558–1642. 2 vols. New York, Houghton-Mifflin & Co., 1908.

English Literature during the Lifetime of Shakespeare. New York, Henry Holt & Co., 1910.

Schöne, R.Ueber Shakespeare’s “Julius Caesar” mit besonderer Berücksichtigung des Verhältnisses zur Quelle des Stückes. Dresden, E. Blochmann und Sohn, 1873.

Segré, Carlo.Relazioni letterarie fra Italia e Inghilterra. Florence, 1911.

Seneca.The Tragedies of Seneca. Translated into English Verse by Frank Justus Miller. Introduced by an Essay on the Influence of the Tragedies of Seneca upon Early English Drama, by John Matthews Manley. Chicago University Press, 1907.

Shakespeare, William.The Tragedy of Julius Caesar. Edited with Introduction and Notes by Frederick Henry Sykes. New York, Charles Scribner’s Sons, 1909.

The “Globe” Edition. Edited by William Aldis Wright and William George Clark. London, Macmillan & Co., 1891.

Sheavyn, Phoebe.The Literary Profession in the Elizabethan Age. Manchester, University Press, 1909.

Skeat, Walter W.Shakespeare’s Plutarch. Being a Selection from the Lives in North’s Plutarch which illustrate Shakespeare’s Plays. With a Preface, Notes, Index of Names and Glossarial Index. London, Macmillan & Co., 1892.

Stapfer, Paul.Shakespeare and Classical Antiquity. Greek and Latin Antiquity as presented in Shakespeare’s Plays. Translated from French by Emily Carey. London, Kegan Paul & Co., 1880.

Suetonius.Lives of the Twelve Caesars. Trans. by Alexander Thomson. Revised by T. Forester. London, G. Bell & Sons, 1903.

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Vergil.A Literal Translation by A. Hamilton Bryce. London, George Bell & Sons, 1894.

P. Vergili Maronis Opera cum appendice in usum scholarum iterum recognovit Otto Ribbeck. Lipsiae, MCMX in aedibus B. G. Teubneri.

1.A second edition followed in 1604 from the same press (Girolamo Discepolo) in 4º.This is exceedingly rare; the only copy which I have traced is in the Biblioteca Marciana in Venice. I use the 1594 text, following the copy in the Biblioteca Nazionale Centrale at Florence.

1.A second edition followed in 1604 from the same press (Girolamo Discepolo) in 4º.

This is exceedingly rare; the only copy which I have traced is in the Biblioteca Marciana in Venice. I use the 1594 text, following the copy in the Biblioteca Nazionale Centrale at Florence.

2.The only reference in English with which I am acquainted is by Harry Morgan Ayres in the June, 1910, number of the Proceedings of the Am. Modern Language Association. In his article, “Shakespeare’s Julius Caesar in the Light of some other Versions” he makes a brief mention of this play. But see Preface.

2.The only reference in English with which I am acquainted is by Harry Morgan Ayres in the June, 1910, number of the Proceedings of the Am. Modern Language Association. In his article, “Shakespeare’s Julius Caesar in the Light of some other Versions” he makes a brief mention of this play. But see Preface.

3.A careful search of the forty volumes of Jahrbücher, published by the “Deutsche Shakespeare Gesellschaft”, failed to reveal any mention of Pescetti. A search of the registers of the very complete collection of German literary periodicals contained in the library of New York University was equally unproductive.

3.A careful search of the forty volumes of Jahrbücher, published by the “Deutsche Shakespeare Gesellschaft”, failed to reveal any mention of Pescetti. A search of the registers of the very complete collection of German literary periodicals contained in the library of New York University was equally unproductive.

4.For a brief sketch of Pescetti see G. B. Gerini, Gli scrittori pedagogici italiani nel secolo decimo settimo. 1900. In addition to the above the following are the only works known to me which mention Pescetti’s “Cesare”:Fonte, Michelangelo, [Paolo Beni], Il Cavalcanti, 1614.Quadrio, Fr. Saverio, Della storia e della ragione d’ogni poesia, 1739.Fontanini, Giusto, Biblioteca dell’eloquenza italiana con le annotazioni del Sig. Apostolo Zeno, 1753.Allaci, Leone, Drammaturgia, 1755.Tiraboschi, Girolamo, Storia della letteratura italiana, 1822.Ginguené, P. L., Histoire Littéraire d’Italie, 1824.De Sanctis, Natale, G. Cesare e M. Bruto nei poeti tragici, 1895.Salvioli, Bibliografia universale del teatro drammatico italiano, 1903.Bertana, Emilio, La tragedia, 1904.Neri, Ferdinando, La tragedia italiana nel Cinquecento, 1904.Flamini, Francesco, A History of Italian Literature. Translated by Evangeline O’Connor, 1907.Of the above only Bertana has more than a brief mention. He alone attempts an analysis of the play.

4.For a brief sketch of Pescetti see G. B. Gerini, Gli scrittori pedagogici italiani nel secolo decimo settimo. 1900. In addition to the above the following are the only works known to me which mention Pescetti’s “Cesare”:

Fonte, Michelangelo, [Paolo Beni], Il Cavalcanti, 1614.

Quadrio, Fr. Saverio, Della storia e della ragione d’ogni poesia, 1739.

Fontanini, Giusto, Biblioteca dell’eloquenza italiana con le annotazioni del Sig. Apostolo Zeno, 1753.

Allaci, Leone, Drammaturgia, 1755.

Tiraboschi, Girolamo, Storia della letteratura italiana, 1822.

Ginguené, P. L., Histoire Littéraire d’Italie, 1824.

De Sanctis, Natale, G. Cesare e M. Bruto nei poeti tragici, 1895.

Salvioli, Bibliografia universale del teatro drammatico italiano, 1903.

Bertana, Emilio, La tragedia, 1904.

Neri, Ferdinando, La tragedia italiana nel Cinquecento, 1904.

Flamini, Francesco, A History of Italian Literature. Translated by Evangeline O’Connor, 1907.

Of the above only Bertana has more than a brief mention. He alone attempts an analysis of the play.

5.In parts of the Brutus-Cassius dialogue in the first act; in his attempted contrast of Calpurnia and Portia; in his inclusion of the portents; and above all, in the scene wherein Lenate addresses Caesar, and the ensuing panic among the conspirators.

5.In parts of the Brutus-Cassius dialogue in the first act; in his attempted contrast of Calpurnia and Portia; in his inclusion of the portents; and above all, in the scene wherein Lenate addresses Caesar, and the ensuing panic among the conspirators.

6.Pharsalia, Bk. II., where the Chorus of Matrons bewails Caesar’s approach.

6.Pharsalia, Bk. II., where the Chorus of Matrons bewails Caesar’s approach.

7.Emilio Bertana in “La tragedia,” 1904, and Francesco Neri in “La tragedia italiana nel Cinquecento,” 1904.

7.Emilio Bertana in “La tragedia,” 1904, and Francesco Neri in “La tragedia italiana nel Cinquecento,” 1904.

8.Inflateis perhaps more accurate in Pescetti’s case.

8.Inflateis perhaps more accurate in Pescetti’s case.

9.He says, “E di qui è che preso animo e fatto cuore, poco dipoi compose, o più tosto tradusse in volgare, una Tragedia del Mureto detta il Cesare. . . . È vero che per alquanto ampliarla e ricoprir’ insieme il furto, vi andò inserendo, e qua e là traponendo, varie leggierezze e vanità di sua testa. In modo tale che almen per queste meriterebbe d’esserne stimato Autore.” From “Il Cavalcanti,” by Michelangelo Fonte (Paolo Beni). In Padova per Francesco Bolzetta, 1614. Page 107 ff. The animus back of such a charge may be inferred from the fact that Muretus has but little over eight hundred lines, and that Pescetti introduces much effective material not found in the former’s tragedy. Fr. Saverio Quadrio in “Della storia e della ragione d’ogni poesia,” Milano, 1739, Vol. IV, p. 72, says of “Cesare:” “Fiorì questo poeta celebre per altre opere circa il 1590;e questa fu la prima tragediadi tale argomento che in lingua volgare si componesse: nè ha che fare con quella del Mureto, come ha malamente scritto il Fontanini, togliendolo da Paolo Beni.” In Fontanini, Giusto,“Biblioteca dell’eloquenza italiana con le annotazioni del Sig. Apostolo Zeno,” Venezia, Pasquali, 1753(4 vols.), Vol.I, p. 483, we read of Pescetti’s work: “Nel Cavalcanti del Beni si fa nuovo stragio di Cesare per colpa di questo autore, come di plagiario del Mureto nella Tragedia latina del Cesare. Si vede, che i ladri letterari, colti in flagranti come succede, si rendono poi scherniti e ridicoli; e che poco giova l’andarsi rampicando per forza, quasi erba parietaria, sulle industrie degli altri, come se fossero loro proprie, con cercar poi di occultarlo, quando per conoscerlo di primo aspetto, ci vuole assai poco, mentre le cose o presto or tardi si scoprono.” In a note Zeno says: “Il Cesare del Mureto, e’l Cesare del Pescetti poco più di commune han fra loro, che l’argomento, la storia, ed il titolo; e però l’accusa di plagiario data del Beni al Pescetti, contra del quale scrisse il suo Cavalcanti per difesa della sua Anticrusca, è anzi dettata dalla passione che dalla verità.” It is interesting to note that Fontanini, like Allaci, speaks only of a 1604 edition of “Cesare.” Zeno, however, is careful to point out the error.

9.He says, “E di qui è che preso animo e fatto cuore, poco dipoi compose, o più tosto tradusse in volgare, una Tragedia del Mureto detta il Cesare. . . . È vero che per alquanto ampliarla e ricoprir’ insieme il furto, vi andò inserendo, e qua e là traponendo, varie leggierezze e vanità di sua testa. In modo tale che almen per queste meriterebbe d’esserne stimato Autore.” From “Il Cavalcanti,” by Michelangelo Fonte (Paolo Beni). In Padova per Francesco Bolzetta, 1614. Page 107 ff. The animus back of such a charge may be inferred from the fact that Muretus has but little over eight hundred lines, and that Pescetti introduces much effective material not found in the former’s tragedy. Fr. Saverio Quadrio in “Della storia e della ragione d’ogni poesia,” Milano, 1739, Vol. IV, p. 72, says of “Cesare:” “Fiorì questo poeta celebre per altre opere circa il 1590;e questa fu la prima tragediadi tale argomento che in lingua volgare si componesse: nè ha che fare con quella del Mureto, come ha malamente scritto il Fontanini, togliendolo da Paolo Beni.” In Fontanini, Giusto,“Biblioteca dell’eloquenza italiana con le annotazioni del Sig. Apostolo Zeno,” Venezia, Pasquali, 1753(4 vols.), Vol.I, p. 483, we read of Pescetti’s work: “Nel Cavalcanti del Beni si fa nuovo stragio di Cesare per colpa di questo autore, come di plagiario del Mureto nella Tragedia latina del Cesare. Si vede, che i ladri letterari, colti in flagranti come succede, si rendono poi scherniti e ridicoli; e che poco giova l’andarsi rampicando per forza, quasi erba parietaria, sulle industrie degli altri, come se fossero loro proprie, con cercar poi di occultarlo, quando per conoscerlo di primo aspetto, ci vuole assai poco, mentre le cose o presto or tardi si scoprono.” In a note Zeno says: “Il Cesare del Mureto, e’l Cesare del Pescetti poco più di commune han fra loro, che l’argomento, la storia, ed il titolo; e però l’accusa di plagiario data del Beni al Pescetti, contra del quale scrisse il suo Cavalcanti per difesa della sua Anticrusca, è anzi dettata dalla passione che dalla verità.” It is interesting to note that Fontanini, like Allaci, speaks only of a 1604 edition of “Cesare.” Zeno, however, is careful to point out the error.

10.There are portions of the speeches of the principal characters decidedly reminiscent of Muretus, but the similarity is more in content than in expression, and seldom enter those portions of “Cesare” which parallel those in “Julius Caesar.”

10.There are portions of the speeches of the principal characters decidedly reminiscent of Muretus, but the similarity is more in content than in expression, and seldom enter those portions of “Cesare” which parallel those in “Julius Caesar.”

11.Especially by Prof. Frederick H. Sykes in his notes to “Julius Caesar,” Charles Scribner’s Sons, New York, 1909.

11.Especially by Prof. Frederick H. Sykes in his notes to “Julius Caesar,” Charles Scribner’s Sons, New York, 1909.

12.Appian (1578), p. 153.Εὶ δἐ ἡμῖν ὀμνῦναι προσέταττεν, οὐ τὰ παρελθόντα μόνον οἴσειν ἐγκρατῶς, ἀλλὰ δουλεύσειν ἐς τὸ μέλλον ἑκόντας, τί ἂν ἔπραξαν οἱ νῦν ἐπιβουλεύοντες ἡμῖν· ἐγὼ μὲν γὰρ, ὄντας γε Ῥωμαίους, οἶμαι πολλάκις ἀποθανεῖν ἑλέσθαι μᾶλλον, ἢ δουλεύειν ἑκόντας ἑπὶ ὅρκῳ.Appian, Ed. Didot. P. 403.

12.Appian (1578), p. 153.Εὶ δἐ ἡμῖν ὀμνῦναι προσέταττεν, οὐ τὰ παρελθόντα μόνον οἴσειν ἐγκρατῶς, ἀλλὰ δουλεύσειν ἐς τὸ μέλλον ἑκόντας, τί ἂν ἔπραξαν οἱ νῦν ἐπιβουλεύοντες ἡμῖν· ἐγὼ μὲν γὰρ, ὄντας γε Ῥωμαίους, οἶμαι πολλάκις ἀποθανεῖν ἑλέσθαι μᾶλλον, ἢ δουλεύειν ἑκόντας ἑπὶ ὅρκῳ.Appian, Ed. Didot. P. 403.

13.“Shakespeare’s Roman Plays and their Background,” p. 646. MacMillan & Company, London and New York. 1910.

13.“Shakespeare’s Roman Plays and their Background,” p. 646. MacMillan & Company, London and New York. 1910.

14.As in the case of the supposed loan in the oration of Brutus, a careful comparison of Plutarch and Appian reveals nothing which Shakespeare could not have obtained from the former, if not directly, at least as a natural consequence of Plutarch’s various accounts. Even the matter of the display of the corpse is mentioned by the biographer (Julius Caesar, p. 102, Skeat’s Edition). As a matter of history, not the corpse itself, but a waxen image showing the mutilations, was exhibited to the populace. It is true that from Plutarch’sdirectaccounts of the oration, Shakespeare could have obtained very little. The whole matter illustrates the great difficulty encountered by the investigator who seeks to disentangle Appian’s contribution from that of Plutarch. This is especially difficult in view of the transformation inseparable from a dramatic treatment. In many passages covering the life of Caesar the marked similarity between the two writers has given rise to the theory that both worked from a common Greek source now lost. The minutiae necessary to a positive declaration in favor of Appian are lacking in Shakespeare’s treatment of this particular scene, but as will be noted from the main argument, they are evident in Pescetti.

14.As in the case of the supposed loan in the oration of Brutus, a careful comparison of Plutarch and Appian reveals nothing which Shakespeare could not have obtained from the former, if not directly, at least as a natural consequence of Plutarch’s various accounts. Even the matter of the display of the corpse is mentioned by the biographer (Julius Caesar, p. 102, Skeat’s Edition). As a matter of history, not the corpse itself, but a waxen image showing the mutilations, was exhibited to the populace. It is true that from Plutarch’sdirectaccounts of the oration, Shakespeare could have obtained very little. The whole matter illustrates the great difficulty encountered by the investigator who seeks to disentangle Appian’s contribution from that of Plutarch. This is especially difficult in view of the transformation inseparable from a dramatic treatment. In many passages covering the life of Caesar the marked similarity between the two writers has given rise to the theory that both worked from a common Greek source now lost. The minutiae necessary to a positive declaration in favor of Appian are lacking in Shakespeare’s treatment of this particular scene, but as will be noted from the main argument, they are evident in Pescetti.

15.If we except the display of the corpse.

15.If we except the display of the corpse.

16.Especially in those founded on material derived from Italian sources.

16.Especially in those founded on material derived from Italian sources.

17.It is found in Plutarch and in Cicero’s letters, but not in connection with this scene. See Sykes’ “Julius Caesar,” Notes, pp. 151–2.

17.It is found in Plutarch and in Cicero’s letters, but not in connection with this scene. See Sykes’ “Julius Caesar,” Notes, pp. 151–2.

18.And when he wente from his house to the Senate, he was wayted on with manye of the magistrates, and great number of people, as wel Citizens as straungers, and servantes and free men in great multitude; all the which fleeing away by heapes, only three seruantes taried, which layd his body in the litter. Thus three men not suteable, did carie him home that a little before was Lorde of sea and lande. (Appian, 1578, p. 142.)Καὶ αἱ πλέονες ἀρχαὶ καὶ πολὺς ὅμιλος ἄλλος ἀστῶν, καὶ ζένων, καὶ πολὺς θεράπων καὶ ἐζελεύθερος αὐτὸν ἐπὶ τὸ βουλευτήριον ἐκ τῆς οἰκίας παρεπεπόμφεισαν· ὧν ἀθρόως διαφυγόντων, τρεῖς θεράποντες μόνοι παρέμειναν, οἳ τὸ σῶμα ἐς τὸ φορεῖον ἐνθέμενοι, διεκόμισαν οἴκαδε ἀνωμάλως, οἷα τρεῖς, τὸν πρὸ ὀλίγου γῆς καὶ θαλάσσης προστάτην.Appian, Ed. Didot. P. 394. Suetonius has a similar account.

18.And when he wente from his house to the Senate, he was wayted on with manye of the magistrates, and great number of people, as wel Citizens as straungers, and servantes and free men in great multitude; all the which fleeing away by heapes, only three seruantes taried, which layd his body in the litter. Thus three men not suteable, did carie him home that a little before was Lorde of sea and lande. (Appian, 1578, p. 142.)Καὶ αἱ πλέονες ἀρχαὶ καὶ πολὺς ὅμιλος ἄλλος ἀστῶν, καὶ ζένων, καὶ πολὺς θεράπων καὶ ἐζελεύθερος αὐτὸν ἐπὶ τὸ βουλευτήριον ἐκ τῆς οἰκίας παρεπεπόμφεισαν· ὧν ἀθρόως διαφυγόντων, τρεῖς θεράποντες μόνοι παρέμειναν, οἳ τὸ σῶμα ἐς τὸ φορεῖον ἐνθέμενοι, διεκόμισαν οἴκαδε ἀνωμάλως, οἷα τρεῖς, τὸν πρὸ ὀλίγου γῆς καὶ θαλάσσης προστάτην.Appian, Ed. Didot. P. 394. Suetonius has a similar account.

19.It seems that the matter of the display of the corpse in Shakespeare is as readily traceable to Plutarch as to Appian.

19.It seems that the matter of the display of the corpse in Shakespeare is as readily traceable to Plutarch as to Appian.

20.But, it should be noted, not quite in the same connection as in Shakespeare. The Messenger warns the women to fly the terrors sure to follow the assassination.

20.But, it should be noted, not quite in the same connection as in Shakespeare. The Messenger warns the women to fly the terrors sure to follow the assassination.

21.Ἀντώνιός τε τὴν οἰκίαν ὠχύρου, τεκμαιρόμενος συνεπιβουλεύεσθαι τῷ Καίσαρι.Appian, Ed. Didot. P. 394.

21.Ἀντώνιός τε τὴν οἰκίαν ὠχύρου, τεκμαιρόμενος συνεπιβουλεύεσθαι τῷ Καίσαρι.Appian, Ed. Didot. P. 394.

22.Οἱ δὲ σφαγεῖς ἐβούλοντο μέν τι εἱπεῖν ἐν τῷ βουλευτηρίῳ. Ουδενὸς δὲ παραμείναντος, τὰ ἱμάτια ταῖς λαιαῖς, ὥσπερ ἀσπίδας, περιπλεξάμενοι, καὶ τὰ ξίφη μετὰ τοῦ αἵματος ἕχοντες, ἐβοηδρόμουν βασιλέα καὶ τύραννον ἀνελεῖν· καὶ πῖλόν τις ἐπὶ δόρατος ἔφερε, σύμβολον ἐλευθερώσεως· ἐπί τε τὴν πάτριον πολιτείαν παρεκάλουν, κα-Βρούτου τοῦ πάλαι καὶ τῶν τότε σφίσιν ὀμωμοσμένων ἐπί τοῖς πάλαι βασιλεῦσιν ἀνεὶ μίμνησκον.Appian, Edition Didot, Paris, 1877. P. 395.

22.Οἱ δὲ σφαγεῖς ἐβούλοντο μέν τι εἱπεῖν ἐν τῷ βουλευτηρίῳ. Ουδενὸς δὲ παραμείναντος, τὰ ἱμάτια ταῖς λαιαῖς, ὥσπερ ἀσπίδας, περιπλεξάμενοι, καὶ τὰ ξίφη μετὰ τοῦ αἵματος ἕχοντες, ἐβοηδρόμουν βασιλέα καὶ τύραννον ἀνελεῖν· καὶ πῖλόν τις ἐπὶ δόρατος ἔφερε, σύμβολον ἐλευθερώσεως· ἐπί τε τὴν πάτριον πολιτείαν παρεκάλουν, κα-Βρούτου τοῦ πάλαι καὶ τῶν τότε σφίσιν ὀμωμοσμένων ἐπί τοῖς πάλαι βασιλεῦσιν ἀνεὶ μίμνησκον.Appian, Edition Didot, Paris, 1877. P. 395.

23.Indicated in Plutarch also—Marcus Brutus—p. 119. He speaks of the eagerness of the conspirators to plunge their swords into Caesar, and records that every one of them was stained with blood.

23.Indicated in Plutarch also—Marcus Brutus—p. 119. He speaks of the eagerness of the conspirators to plunge their swords into Caesar, and records that every one of them was stained with blood.

24.Also regarded as a supposedly ironical answer to Decimus’ interpretation of the dream.

24.Also regarded as a supposedly ironical answer to Decimus’ interpretation of the dream.

25.In Pescetti the Priest’s recital of the omens consists of some one hundred and three lines. Muretus has Calpurnia’s recital to the nurse of the dream wherein she beheld Caesar’s bleeding body, and the following:Calp:Audere desine tu priusTuaeque si adeo spernis uxoris metumMovere vatum oraculis minacibus,Periculosam qui tibi hanc lucem admonent:Si spectra, si te auspicia, si fibrae monentCavere, et hunc meum timorem comprobant:Quid in paratam pertinax mortem ruis?Caes:Quando timorem ponere aliter non potes,Ne nos tibi queraris omnino nihilTribuere, mittatur Senatus in hunc diem.Lines 343–52.Hereupon D. Brutus protests to Caesar and the latter yields. Grévin has substantially the same account. For Muretus and Grévin I use Collischonn’s reprint. See Bibliography.

25.In Pescetti the Priest’s recital of the omens consists of some one hundred and three lines. Muretus has Calpurnia’s recital to the nurse of the dream wherein she beheld Caesar’s bleeding body, and the following:

Hereupon D. Brutus protests to Caesar and the latter yields. Grévin has substantially the same account. For Muretus and Grévin I use Collischonn’s reprint. See Bibliography.

26.Life of Caesar, p. 98, Skeat’s edition.

26.Life of Caesar, p. 98, Skeat’s edition.

27.Op. cit., p. 194.

27.Op. cit., p. 194.

28.Rather Appian’s almost parallel account.

28.Rather Appian’s almost parallel account.

29.In the “Cornélie” of Garnier (1574) he also warns Caesar.

29.In the “Cornélie” of Garnier (1574) he also warns Caesar.

30.Pharsalia, Book IX., lines 1–23.

30.Pharsalia, Book IX., lines 1–23.

31.J. C., Act I., Sc.III, L. 1–32.

31.J. C., Act I., Sc.III, L. 1–32.

32.In HamletI,I, 113 seq. we read.Hor.A mote it is to trouble the mind’s eye.In the most high and palmy state of Rome,A little ere the mightiest Julius fell,The graves stood tenantless, and the sheeted dead,Did squeak and gibber in the Roman streets;As stars with trains of fire and dews of blood,Disasters in the sun; and the moist starUpon whose influence Neptune’s empire stands,Was sick almost to doomsday with eclipse.And even the like precurse of fierce events—As harbingers preceding still the fates,And prologue to the omen coming on,—Have heaven and earth together demonstratedUnto our climatures and country men.—The text is obviously corrupt. These lines do not appear in the Folio, nor is there any trace of them in the earliest quarto. It has been conjectured that the poet suppressed this passage in representation, after he had written “Julius Caesar.” Certainly the similarity to Pescetti is striking. The “dews of blood” are again mentioned; also the eclipse of the moon, neither occurring in Plutarch.

32.In HamletI,I, 113 seq. we read.

The text is obviously corrupt. These lines do not appear in the Folio, nor is there any trace of them in the earliest quarto. It has been conjectured that the poet suppressed this passage in representation, after he had written “Julius Caesar.” Certainly the similarity to Pescetti is striking. The “dews of blood” are again mentioned; also the eclipse of the moon, neither occurring in Plutarch.

33.In an account of a visit to London written by Thomas Platter, a merchant of Basle, he mentions a performance of “Julius Caesar,” Sept. 21, 1599. (Ency. Brit., XI. ed., Art. Shakespeare.)

33.In an account of a visit to London written by Thomas Platter, a merchant of Basle, he mentions a performance of “Julius Caesar,” Sept. 21, 1599. (Ency. Brit., XI. ed., Art. Shakespeare.)

34.See “Georgics,” Book I., lines 463–488, for Vergil’s account of the omens.

34.See “Georgics,” Book I., lines 463–488, for Vergil’s account of the omens.

35.Lucan’s account is found in the Pharsalia, Bk. I., lines 523–583; Ovid’s in the Metamorphoses, Bk. XV., lines 783–798.

35.Lucan’s account is found in the Pharsalia, Bk. I., lines 523–583; Ovid’s in the Metamorphoses, Bk. XV., lines 783–798.

36.Lydgate’s “Fall of Princes,” Boke Sixte, Chap. XI., Leaf CXLVI., Edition of 1558 (see Bibliography).

36.Lydgate’s “Fall of Princes,” Boke Sixte, Chap. XI., Leaf CXLVI., Edition of 1558 (see Bibliography).

37.Translation by Golding, Ed. 1575.

37.Translation by Golding, Ed. 1575.

38.Works of Christopher Marlowe. Edited by Alexander Dyce. London. Wm. Pickering, 1850.

38.Works of Christopher Marlowe. Edited by Alexander Dyce. London. Wm. Pickering, 1850.

39.Tethys maioribus undisHesperiam Calpen summumque impleuit Atlanta.Phar. Bk. I, L. 555.

39.

Tethys maioribus undisHesperiam Calpen summumque impleuit Atlanta.Phar. Bk. I, L. 555.

Tethys maioribus undisHesperiam Calpen summumque impleuit Atlanta.Phar. Bk. I, L. 555.

Tethys maioribus undisHesperiam Calpen summumque impleuit Atlanta.Phar. Bk. I, L. 555.

Tethys maioribus undis

Hesperiam Calpen summumque impleuit Atlanta.Phar. Bk. I, L. 555.

40.Proluit insano contorquens vertice silvasFluviorum rex Eridanus, camposque per omnesCum stabulis armenta tulit.Geo. Bk. 1, L. 481 ff. Ed. Teubner.

40.

Proluit insano contorquens vertice silvasFluviorum rex Eridanus, camposque per omnesCum stabulis armenta tulit.Geo. Bk. 1, L. 481 ff. Ed. Teubner.

Proluit insano contorquens vertice silvasFluviorum rex Eridanus, camposque per omnesCum stabulis armenta tulit.Geo. Bk. 1, L. 481 ff. Ed. Teubner.

Proluit insano contorquens vertice silvasFluviorum rex Eridanus, camposque per omnesCum stabulis armenta tulit.Geo. Bk. 1, L. 481 ff. Ed. Teubner.

Proluit insano contorquens vertice silvas

Fluviorum rex Eridanus, camposque per omnes

Cum stabulis armenta tulit.Geo. Bk. 1, L. 481 ff. Ed. Teubner.

41.Translation by Davidson. Harper’s Classical Library, New York, 1896.

41.Translation by Davidson. Harper’s Classical Library, New York, 1896.

42.Lydgate says:Another token pitous for hereWhich astonied many a proude RomayneDead bodies dyd in the feldes appereWhich in battayle had afore be slayne,Fro their tombes rising where they layne,

42.Lydgate says:

Another token pitous for hereWhich astonied many a proude RomayneDead bodies dyd in the feldes appereWhich in battayle had afore be slayne,Fro their tombes rising where they layne,

Another token pitous for hereWhich astonied many a proude RomayneDead bodies dyd in the feldes appereWhich in battayle had afore be slayne,Fro their tombes rising where they layne,

Another token pitous for hereWhich astonied many a proude RomayneDead bodies dyd in the feldes appereWhich in battayle had afore be slayne,Fro their tombes rising where they layne,

Another token pitous for here

Which astonied many a proude Romayne

Dead bodies dyd in the feldes appere

Which in battayle had afore be slayne,

Fro their tombes rising where they layne,

43.Obscenaeque canes importunaeque volucresSigna dabant.Georgics, Bk. I., line 470.

43.

Obscenaeque canes importunaeque volucresSigna dabant.Georgics, Bk. I., line 470.

Obscenaeque canes importunaeque volucresSigna dabant.Georgics, Bk. I., line 470.

Obscenaeque canes importunaeque volucresSigna dabant.Georgics, Bk. I., line 470.

Obscenaeque canes importunaeque volucres

Signa dabant.Georgics, Bk. I., line 470.

44.Tristia mille locis Stygius dedit omina bubo.Met., Bk. XV. Ed. Teubner. L. 791.This Golding quaintly translates,The Screeche owle sent from hell,Did with her tune unfortunate in every corner yell.

44.Tristia mille locis Stygius dedit omina bubo.Met., Bk. XV. Ed. Teubner. L. 791.

This Golding quaintly translates,

The Screeche owle sent from hell,Did with her tune unfortunate in every corner yell.

The Screeche owle sent from hell,Did with her tune unfortunate in every corner yell.

The Screeche owle sent from hell,Did with her tune unfortunate in every corner yell.

The Screeche owle sent from hell,

Did with her tune unfortunate in every corner yell.

45.et simulacra modis pallentia mirisVisa sub obscurum noctis.L. 477. Georg. I.

45.

et simulacra modis pallentia mirisVisa sub obscurum noctis.L. 477. Georg. I.

et simulacra modis pallentia mirisVisa sub obscurum noctis.L. 477. Georg. I.

et simulacra modis pallentia mirisVisa sub obscurum noctis.L. 477. Georg. I.

et simulacra modis pallentia miris

Visa sub obscurum noctis.L. 477. Georg. I.

46.umbrasque silentumErravisse ferunt.L. 797. Met., XV.

46.

umbrasque silentumErravisse ferunt.L. 797. Met., XV.

umbrasque silentumErravisse ferunt.L. 797. Met., XV.

umbrasque silentumErravisse ferunt.L. 797. Met., XV.

umbrasque silentum

Erravisse ferunt.L. 797. Met., XV.

47.Arma ferunt inter nigras crepitantia nubes,Terribilesque tubas, auditaque cornua caelo. Met., XV. Ll. 783–4.

47.

Arma ferunt inter nigras crepitantia nubes,Terribilesque tubas, auditaque cornua caelo. Met., XV. Ll. 783–4.

Arma ferunt inter nigras crepitantia nubes,Terribilesque tubas, auditaque cornua caelo. Met., XV. Ll. 783–4.

Arma ferunt inter nigras crepitantia nubes,Terribilesque tubas, auditaque cornua caelo. Met., XV. Ll. 783–4.

Arma ferunt inter nigras crepitantia nubes,

Terribilesque tubas, auditaque cornua caelo. Met., XV. Ll. 783–4.

48.Insonuere tubae et quanto clamore cohortesMiscentur tantum nox astra silentibus umbris Phar., Bk. I., 578–80.Edidit.Vergil has,Armorum sonitum toto Germania caeloAudiit. Georg., Bk. I., l. 474.

48.

Insonuere tubae et quanto clamore cohortesMiscentur tantum nox astra silentibus umbris Phar., Bk. I., 578–80.Edidit.

Insonuere tubae et quanto clamore cohortesMiscentur tantum nox astra silentibus umbris Phar., Bk. I., 578–80.Edidit.

Insonuere tubae et quanto clamore cohortesMiscentur tantum nox astra silentibus umbris Phar., Bk. I., 578–80.Edidit.

Insonuere tubae et quanto clamore cohortes

Miscentur tantum nox astra silentibus umbris Phar., Bk. I., 578–80.

Edidit.

Vergil has,

Armorum sonitum toto Germania caeloAudiit. Georg., Bk. I., l. 474.

Armorum sonitum toto Germania caeloAudiit. Georg., Bk. I., l. 474.

Armorum sonitum toto Germania caeloAudiit. Georg., Bk. I., l. 474.

Armorum sonitum toto Germania caelo

Audiit. Georg., Bk. I., l. 474.

49.Saepe inter nimbos guttae cecidere cruentae. Met., Bk. XV., l. 788.Appian mentions the rain of blood in connection with the crossing of the Rubicon.

49.

Saepe inter nimbos guttae cecidere cruentae. Met., Bk. XV., l. 788.

Saepe inter nimbos guttae cecidere cruentae. Met., Bk. XV., l. 788.

Saepe inter nimbos guttae cecidere cruentae. Met., Bk. XV., l. 788.

Saepe inter nimbos guttae cecidere cruentae. Met., Bk. XV., l. 788.

Appian mentions the rain of blood in connection with the crossing of the Rubicon.

50..    .    .    .    .    .    .    .; et altaePer noctem resonare lupis ululantibus urbes.Geo., Bk. I., l. 486.

50.

.    .    .    .    .    .    .    .; et altaePer noctem resonare lupis ululantibus urbes.Geo., Bk. I., l. 486.

.    .    .    .    .    .    .    .; et altaePer noctem resonare lupis ululantibus urbes.Geo., Bk. I., l. 486.

.    .    .    .    .    .    .    .; et altaePer noctem resonare lupis ululantibus urbes.Geo., Bk. I., l. 486.

.    .    .    .    .    .    .    .; et altae

Per noctem resonare lupis ululantibus urbes.Geo., Bk. I., l. 486.

51.Siluisque feras sub nocte relictisAudaces media posuisse cubilia Roma.Phar., Bk. I, ll. 559–60.

51.

Siluisque feras sub nocte relictisAudaces media posuisse cubilia Roma.Phar., Bk. I, ll. 559–60.

Siluisque feras sub nocte relictisAudaces media posuisse cubilia Roma.Phar., Bk. I, ll. 559–60.

Siluisque feras sub nocte relictisAudaces media posuisse cubilia Roma.Phar., Bk. I, ll. 559–60.

Siluisque feras sub nocte relictis

Audaces media posuisse cubilia Roma.Phar., Bk. I, ll. 559–60.

52.Translation by Marlowe.

52.Translation by Marlowe.

53.Falls of Princes, Bk. VI.

53.Falls of Princes, Bk. VI.

54.Julius Obsequens, CXV., mentioned by Sykes in op. cit.

54.Julius Obsequens, CXV., mentioned by Sykes in op. cit.

55.Neither does Appian.

55.Neither does Appian.

56.Shakespeare’s Plutarch. Ed. by W. W. Skeat, page 164.

56.Shakespeare’s Plutarch. Ed. by W. W. Skeat, page 164.

57.Appian says: “Some of the Conspirators” (1578 Ed.).

57.Appian says: “Some of the Conspirators” (1578 Ed.).

58.Plutarch, page 119. Skeat.

58.Plutarch, page 119. Skeat.

59.This scene goes far beyond Muret and Grévin. In Muretus the scene is confined to the following lines:Cass.—.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .Unus mihi nunc scrupulus restat:Unane opera confodiendumCum Caesare ipso censeas Antonium?Bru.—Jam saepe dixi, id esse consilium mihi,Salvis perimere civibus tyrannida.Cass.—Perimatur ergo ab infimis radicibus,Ne quando post hac caesa rursum pullulet.Bru.—Latet sub uno tota radix corpore.Cass.—Itan’ videtur? amplius nil proloquar.Tibi pareatur; te sequimur omnes ducem.Vide modo, ut, cum opus erit, adsis. Brut. videro.Lines 184 ff.Grévin differs but slightly. Cassius says:Mais j’ay je ne sçay quoy qui mi detient pensif.N’estes vous pas d’advis que de force pareilleNous abordions Antoine, à fin qu’il ne resveille,L’orgueil de ce Tyran en ses nouveaux amis?M. Brute.Je vous ay tousjours dict que ce n’est mon advis.Cassius.Si seroit-ce bien faict, arrachans la racine,Avecque le gros tronc de tout ceste vermine,De peur qu’ell’ ne revive, ou que le pied laissé,Ne resemble celuy qui l’auroit devancé.M. Brute.C’est assez, soyez prest, pendant que je regarde,Que chascun de mes gens se tienne sur sa garde.Lines 508 ff.Cassius exults in the prospect of liberty and the scene closes. It is curious to remark the simile regarding Antony’s relations to Caesar which runs through Muretus, Grévin, Pescetti and Shakespeare. In all Caesar is likened to a trunk of which Antony is simply an appendage.

59.This scene goes far beyond Muret and Grévin. In Muretus the scene is confined to the following lines:

Grévin differs but slightly. Cassius says:

Mais j’ay je ne sçay quoy qui mi detient pensif.N’estes vous pas d’advis que de force pareilleNous abordions Antoine, à fin qu’il ne resveille,L’orgueil de ce Tyran en ses nouveaux amis?M. Brute.Je vous ay tousjours dict que ce n’est mon advis.Cassius.Si seroit-ce bien faict, arrachans la racine,Avecque le gros tronc de tout ceste vermine,De peur qu’ell’ ne revive, ou que le pied laissé,Ne resemble celuy qui l’auroit devancé.M. Brute.C’est assez, soyez prest, pendant que je regarde,Que chascun de mes gens se tienne sur sa garde.Lines 508 ff.

Mais j’ay je ne sçay quoy qui mi detient pensif.N’estes vous pas d’advis que de force pareilleNous abordions Antoine, à fin qu’il ne resveille,L’orgueil de ce Tyran en ses nouveaux amis?M. Brute.Je vous ay tousjours dict que ce n’est mon advis.Cassius.Si seroit-ce bien faict, arrachans la racine,Avecque le gros tronc de tout ceste vermine,De peur qu’ell’ ne revive, ou que le pied laissé,Ne resemble celuy qui l’auroit devancé.M. Brute.C’est assez, soyez prest, pendant que je regarde,Que chascun de mes gens se tienne sur sa garde.Lines 508 ff.

Mais j’ay je ne sçay quoy qui mi detient pensif.N’estes vous pas d’advis que de force pareilleNous abordions Antoine, à fin qu’il ne resveille,L’orgueil de ce Tyran en ses nouveaux amis?

Mais j’ay je ne sçay quoy qui mi detient pensif.

N’estes vous pas d’advis que de force pareille

Nous abordions Antoine, à fin qu’il ne resveille,

L’orgueil de ce Tyran en ses nouveaux amis?

M. Brute.

M. Brute.

Je vous ay tousjours dict que ce n’est mon advis.

Je vous ay tousjours dict que ce n’est mon advis.

Cassius.

Cassius.

Si seroit-ce bien faict, arrachans la racine,Avecque le gros tronc de tout ceste vermine,De peur qu’ell’ ne revive, ou que le pied laissé,Ne resemble celuy qui l’auroit devancé.

Si seroit-ce bien faict, arrachans la racine,

Avecque le gros tronc de tout ceste vermine,

De peur qu’ell’ ne revive, ou que le pied laissé,

Ne resemble celuy qui l’auroit devancé.

M. Brute.

M. Brute.

C’est assez, soyez prest, pendant que je regarde,Que chascun de mes gens se tienne sur sa garde.Lines 508 ff.

C’est assez, soyez prest, pendant que je regarde,

Que chascun de mes gens se tienne sur sa garde.Lines 508 ff.

Cassius exults in the prospect of liberty and the scene closes. It is curious to remark the simile regarding Antony’s relations to Caesar which runs through Muretus, Grévin, Pescetti and Shakespeare. In all Caesar is likened to a trunk of which Antony is simply an appendage.

60.Julius Caesar, II, I, ll. 154–191.

60.Julius Caesar, II, I, ll. 154–191.

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