A Probable Italian Source of Shakespeare's "Julius Cæsar". Alexander Boecker

in the mouths of his immortals must have made Melpomene smile. The admonition of Venus to Mars on omniscient Jove’s approach, “Ma e’ vien ver noi, tacciam, ch’egli non ci oda,” despite its Renaissance setting, is delightful for its sheer absurdity.

      The tragedy follows immediately after this prologue. In view of the extreme length of Pescetti’s work and the lack of interest for our purpose in many of the speeches, I have thought it advisable not to inflict upon the reader an extended synopsis of the plot, but to confine my efforts to the following outline of the story.

Act I

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      The scene is not stated, but is evidently, throughout the play, an open space before a temple in the vicinity of Caesar’s house. The time is just before dawn. Brutus is discovered apostrophizing the shade of Pompey. He vows to deliver Rome from the tyrant. Cassius overhears him, and commends this resolution. Brutus relates how the ghost of Pompey had appeared to him during the past night and commanded him to restore the ancient liberties. Together, they enter the temple to pray for the success of their enterprise. The Priest now appears, deplores the prevalent irreligion, urges the observance of the ancient rites, and then goes to prepare the sacrifice commanded by the Dictator. Brutus and Cassius reappear and discuss their plans. Cassius strongly favors the killing of Antony along with Caesar. This Brutus will not tolerate, in spite of the many forceful arguments of his fellow conspirator. He abruptly terminates the discussion by detailing the manner of Caesar’s murder. As he concludes, Portia enters in search of Brutus. She deplores that her sex prevents her taking an active part in the conspiracy. She begs to be favored with their confidence. Cassius hesitates, but finally divulges their plans, and beseeches her to aid the enterprise with her prayers. This, rather reluctantly, she promises. Brutus, who has taken no part in this conversation, now bursts into an ecstatic speech wherein, in imagination, he already hears the rejoicing which the news of the tyrant’s death will cause among Rome’s noblest families. He advises Portia to return home while he and Cassius go to join the other conspirators. Portia invokes the blessing of Heaven on them, and the act concludes as the Chorus of Matrons implores the intercession of Romulus to restore to the city its former peace and happiness.

Act II

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      Calpurnia and her nurse indulge in the inevitable lengthy and tiresome discussion concerning the former’s terrible dream. The ghost of Caesar, horrible with wounds, had appeared to her that night. Almost half the act is devoted to Calpurnia’s expression of grief and to her nurse’s fruitless efforts at consolation. The Chorus declaims the fickleness of mankind, whereupon Brutus and Portia reappear. The former, believing that his wife has wounded herself in some domestic labor, reproves her for turning her hands to such work. She tells him that she has wounded herself to prove that she could commit suicide were her death necessary. She fears that her husband may perish in his attempt against Caesar and has resolved to restrain him. This dialogue, filled with mutual protestations of love and constancy, is terminated by the appearance of Calpurnia, whose perturbed countenance prompts them to overhear her. Calpurnia, in a long and tiresome speech, condemns the desire of men for dominion over others as the cause of all their sufferings. The nurse interjects the usual advice and consolation. Calpurnia voices her determination to persuade Caesar to abandon his contemplated visit to the Senate. Brutus petitions Jove to steel the tyrant’s heart to the appeals of his wife. Portia retires to pray for her husband’s success, while he goes to rejoin Cassius and the others in the plot. The Chorus sings the mutability of human happiness, and the act ends.

Act III

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      Caesar and Antony indulge in a lengthy dialogue which is started by the observations of the former regarding the banquet at the house of Lepidus the preceding evening. Caesar, ably seconded by Antony, enlarges upon his glories. His companion warns him against treachery, and advises a bodyguard. Caesar scorns those who would harm him, but resolves after this day to be surrounded by some of his trusty veterans. He orders Antony to prepare for the Parthian campaign. Here follows a soliloquy by Antony, in which, in contrast to Calpurnia, he exalts the pleasures of rulership. He intends so to contrive that in the event of Caesar’s death he can seize the reins of government. Hereupon the Priest in the longest speech in the play recites the many and various portents which have lately occurred. As he concludes, Caesar and Calpurnia join him, and another long scene ensues in which Caesar stands firm against all the arguments brought forward to dissuade him. He is resolved to go to the Senate, and the scene is brought to an end by a final warning from the Priest. The Chorus sings the direful results following the disregard of religion.

Act IV

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      Brutus and Cassius discuss the probability of a detection of their plot. It seems that Lenate, evidently not of their number, had approached Brutus and whispered his good wishes for the success of their enterprise. Brutus and Cassius engage in a dialogue concerning liberty, but are interrupted by the appearance of Decimus Brutus, who laments the perversity of fortune. It seems that Caesar has yielded to Calpurnia’s entreaties and will stay at home. Worse still, on the morrow he will appear with his bodyguard. Marcus Brutus feels that Jove will yet favor their designs. Caesar enters and condemns those as fools who are guided by the advice of women. Nevertheless, as he fears treachery, he has resolved to heed the entreaties of his wife. He indulges in a panegyric of himself. The conspirators now approach, and Marcus Brutus addresses him, inquiring his reasons for not attending the important session of the Senate. Caesar is in doubt as to the manner of his reply. The prayers of his wife, he asserts, have influenced him. Besides, he has reason to fear treachery. Decimus Brutus, by artfully playing on his vanity, succeeds in overcoming his doubts. Caesar resolves to attend the Senate. Marcus Brutus can hardly find words fit to sing the praises of Jove, who has inspired this determination in the tyrant’s heart. The conspirators indulge in pious prayers and felicitations. Caesar, Calpurnia and Decimus Brutus are the persons in the next scene. Caesar tells Calpurnia that her entreaties are vain; now, as formerly, the gods will protect him. She bows to his will. Decimus, in another useless speech, continues his laudation of Caesar and the belittlement of his fears. Caesar at length starts for the Senate. He is detained by Lenate who addresses him, to the great consternation of the conspirators, who fear the revelation of their plot. Lenate begs a favor of Caesar, which the latter is disposed to grant. The increasing panic of the conspirators is stayed by Brutus, who has watched Lenate and feels confident that he is not talking of the plot. At the conclusion of Lenate’s address Caesar departs for the Senate, and Lenate joins the conspirators and assures them of his silence. In the concluding scene Calpurnia breaks into lamentations while the Chorus of Ladies of the Court comments upon her distress and beseeches Juno to turn aside her wrath and spare Caesar.

Act V

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      Brutus addresses the citizens and announces the death of the tyrant. He calls on all to rejoice in their reestablished freedom, while the conspirators shout the glad tidings. This is his last appearance. The rest of the act is devoted to the lamentations of Calpurnia, the report of the catastrophe by the First and the Second Messenger, and the comments of the various Choruses.

      Pescetti’s tragedy, as will readily be seen from this statement of its plot, is thoroughly Senecan in its construction and perpetuates some of the worst faults of its type. The dramatic unities are strictly observed; there are the same lengthy speeches, the same moralizing, the same absence of action evolved before