Treb.-" There is no fear in him; let him not die; For he will live and laugh at this hereafter."-II., 1, ll. 190–92. It is peculiar that in both Pescetti and Shakespeare the sequence of the immediately following scenes is the same. the former Brutus proceeds to detail the plans for Caesar's assassination, and as he finishes, Portia enters. He concludes: "Ma giamo ad informar del tutto gli altri, Acciò gli spirti destino, e le forze, Et apparecchin l'arme all'alta impresa.-P. 28. This is closely followed by the entry of Portia. In Shakespeare the conspirators discuss ways and means of getting Caesar to the Capitol. Towards the conclusion we have: Cas. "The morning comes upon's: we'll leave you, Brutus: What you have said and show yourselves true Romans." —II., 1, 221. Soon after Portia enters. It is also noteworthy that Brutus and Cassius in both plays perfect their plans in the early morning. There is no warrant for this in Plutarch or Appian. Another striking parallel in situation and treatment is to be found in the behavior of the conspirators during the conversation of Lenate (Popilius Lena) with Caesar immediately preceding the murder. This is Plutarch's* account: "Another Senator, called Popilius Lena, after he had saluted Brutus more friendly than he was wont to do, he rounded softly in their ears, and told them: 'I pray the gods you may go through with that you have taken in hand; but withal dispatch, I reade you, for your enterprise is bewrayed.' When he had said, he presently departed from them, and left them both afraid that their conspiracy would out... When Caesar came out of his litter, Popilius Lena (that had talked before with Brutus and Cassius, and had prayed the gods they might bring their enterprise to pass) went unto Caesar, and kept him a long time with a talk. Caesar gave good ear unto him: * Substantially the same in Appian. wherefore the conspirators (if so they should be called) not hearing what he said to Caesar, but conjecturing by that he had told them a little while before that his talk was none other than the very discovery of their conspiracy, they were afraid every man of them; and, one looking in another's face, it was easy to see that they were of a mind, that it was no tarrying for them till they were apprehended, but rather that they should kill themselves with their own hands. And when Cassius and certain other clapped their hands on their swords under their gowns to draw them, Brutus, marking the countenance and gesture of Lena, and considering that he did use himself rather like an humble and earnest suitor than like an accuser, he said nothing to his companions (because there were many amongst them that were not of the conspiracy) but with a pleasant countenance encouraged Cassius. And immediately after Lena went from Caesar, and kissed his hand; which showed plainly that it was for some matter concerning himself that he had held him so long in talk."* Note that Plutarch, outside of Lena's remark, cites no sayings of the conspirators, but describes their demeanor only. Appian does likewise. Pescetti follows his account faithfully, but in spirit very similar to Shakespeare's treatment. In Pescetti, Caesar is accosted by Lena, who begs a favor for a friend. Their conversation is entirely too lengthy for dramatic effectiveness. Previous to this episode, Brutus, at the beginning of the fourth act, confides to Cassius his belief that the conspiracy will be discovered, if indeed it has not already been revealed to Caesar. Among other statements he says: "Senza sangue rimasi dianzi, quando Ci s'appressò Lenate, et in disparte All'impresa auguronne, e dubitai, Che già non fosse discoperto il tutto."-P. 88. In the scene between Lenate and Caesar, Cassius, marking the former's approach to the Dictator, says, *Marcus Brutus, p. 117-118. "Bruto, noi siam spediti; ecco Lenate Che ragiona con Cesare in secreto."-P. 107. And then following: Bru. Questo ch'importa a noi? Cas. Come ch'importa? Non sai, se la congiura gli è palese? Bru.-T'intendo: ahi che valor, dove fortuna Lenate and Caesar continue their talk. increasing. He says, "Gli occhi teniamo intenti, e se fa cenno Che presi siam, pria che ci leghi alcuno, Cassius' fears are Sciogliam noi l'alma de' corporei lacci."-P. 107. Near the end of the conversation Brutus says, "Respira, ò Cassio, che li parla d'altro, Per quel, che di quì posso dal sembiante Comprender, e da gesti."-P. 109. After Lenate leaves Caesar, Cassius, turning to the former, exclaims, "M'è ritornata l'anima nel corpo. Il tuo parlar con Cesare n'hà messo, Lenate, in gran spavento." To which Lenate replies, "Dubitando Della mia fede, avete dubitato, Ch'un muto parli. Sievi pure il cielo Propizio, com'io vi sarò fedele." This entire scene, as others in Pescetti, make us regret that his slavish subservience to his models caused him to smother his dramatic ability in an avalanche of verbiage. He shows, in spite of many omissions, a true perception of the dramatic possibilities of his material. Had he only been able to condense his work by almost three-quarters, his tragedy would rank high as a representative of its type. Shakespeare uses the same material, takes out his few ounces of gold, and casts away the tons of dross. Nothing that can impede the swiftly approaching climax is tolerated, yet everything necessary to heighten the suspense is introduced. Pop. I wish your enterprise to-day may thrive. Cas. What enterprise, Popilius? Bru.-What said Popilius Lena? Cas. He wished to-day our enterprise might thrive. Bru.-Look, how he makes to Caesar: mark him. Cas. Bru. Casca, Be sudden, for we fear prevention. Brutus, what shall be done? If this be known, Cassius, or Caesar never shall turn back, For I will slay myself. Cassius, be constant: Popilius Lena speaks not of our purposes; For, look he smiles, and Caesar doth not change.* These scenes are not only significant from a critical standpoint; they are historically of prime importance. In Muretus and Grévin the matter of Antony's entry into the conspiracy is confined to a few lines; Pescetti is the first to give it more importance and the first to employ material which later reappears in Shakespeare's work. The Popilius Lena scene is even more important, for it is in "Cesare" that we find the first dramatic treatment of this significant episode. Shake*J. C., Act. III., Sc. 1, ll. 14-27. speare's treatment almost exactly parallels the work of his humble predecessor. Pescetti seemed well aware of the dramatic value of suspense. In "Julius Caesar", Shakespeare's use of this device is much commended, but in this particular play he seems to have been anticipated by the Italian. The preceding scene is not the only one wherein it is employed by Pescetti. Some time before, D. Brutus joins Cassius and M. Brutus, deploring the perversity of fortune.* He fears that Caesar has scented the conspiracy and will not attend that day's session of the Senate. The introduction of this matter at this time strongly resembles Shakespeare's use of the same device, under the same circumstances. Cassius says to D. Brutus: Cas.-Bruto tu sè turbato. D. B. E n'hò cagione. Cas.-Che c'è? D. B.-S'appon fortuna, à desir nostri. "Ma che cosa incontrat'è, ch'interrompe D. B.-S'è pentito D'ir in Senato Cesar, e dimane Come dianzi vi dissi, prende à guardia, Et ò pur, che non abbia qualche cosa Della congiura, e dell' insidie udito."-Pp. 92-93. In Shakespeare we read: Cas. "But it is doubtful yet Whether Caesar will come forth to-day or no; Quite from the main opinion he held once Of fantasy, of dreams and ceremonies. It may be these apparent prodigies, The unaccustomed terror of this night, And the persuasion of his augurers, May hold him from the Capitol to-day." Act II., 1, 1. 194 ff. * P. 91 ff. |