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It appears from Peck's Collection of divers curious historical Pieces, &c. (appended to his Memoirs, &c. of Oliver Cromwell,) p. 14, that a Latin play on this subject had been written : “Epilogus Cæsaris interfecti, quomodo in scenam prodiit ea res, acta, in Ecclesia Christi, Oxon. Qui Epilogus a Magistro Ricardo Eedes, et scriptus et in proscenio ibidem dictus fuit, A. D. 1582.” Meres, whose Wit's Commonwealth was published in 1598, enumerates Dr. Eedes among the best tragick writers of that time.

Steevens. From some words spoken by Polonius in Hamlet, I think it probable that there was an English play on this subject, before Shakspeare commenced a writer for the stage.

Stephen Gosson, in his School of Abuse, 1579, mentions a play entitled, The History of Cæsar and Pompey.

William Alexander, afterwards carl of Sterline, wrote a tragedy on the story, and with the title of Julius Cæsar. It

may
be

presumed that Shakspeare's play was posterior to his ; for lord Sterline, when he composed his Julius Cæsar, was a very young author, and would hardly have ventured into that circle, within which the most eminent dramatick writer of England had already walked. The death of Cæsar, which is not exhibited but related to the audience, forms the catastrophe of his piece. In the two plays many parallel passages are found, which might, perhaps, have proceeded only from the two authors drawing from the same

However, there are some reasons for thinking the coincidence more than accidental.

A passage in The Tempest, (p. 81,) seems to have been copied from one in Darius, another play of lord Sterline's, printed at Edinburgh, in 1603. His Julius Cæsar appeared in 1607, at a time when he was little acquainted with English writers; for both these pieces abound with Scotticisms, which, in the subsequent folio edition, 1637, he corrected. But neither The Tempest nor the Julius Cæsar of our author was printed till 1623.

It should also be remembered, that our author has several plays, founded on subjects which had been previously treated by others. Of this kind are King John, King Richard II., the two parts of King Henry IV., King Henry V., King Richard III., King Lear, Anthony and Cleopatra, Measure for Measure, The Taming of the Shrew, The Merchant of Venice, and, I believe, Hamlet, Timon of Athens, and the Second and Third Part of King Henry VI., whereas no proof has hitherto been produced, that any contemporary writer ever presumed to new-model a story that had already employed the pen of Shakspeare. On all these grounds it appears more probable, that Shakspeare was indebted to lord Sterline, than that lord Sterline borrowed from Shakspeare. If this reason

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ing be just, this play could not have appeared before the year 1607. I believe it was produced in that year. Malone.

The real length of time in Julius Cæsar is as follows : About the middle of February, A. U.C. 709, a frantick festival, sacred to Pan, and called Lupercalia, was held in honour of Cæsar, when the regal crown was offered to him by Anthony. On the 15th of March in the same year, he was slain. November 27, A.U.C. 710, the triumvirs met at a small island, formed by the river Rhenus, near Bononia, and there adjusted their cruel proscription.-A.U.C. 711, Brutus and Cassius were defeated near Philippi. Upton.

PERSONS REPRESENTED.

JULIUS CÆSAR.
OCTAVIUS CÆSAR,

Triumvirs after the Death of Julius Marcus ANTONIUS,

Cæsar.
M. ÆMIL. LEPIDUS,
CICERO, Publius, Popilius LENA, Senators.
MARCUS BRUTUS,
Cassius,
Casca,
TREBONIUS,

Conspirators against Julius Cæsar.
LIGARIUS,
DECIUS BRUTUS,
METELLUS CIMBER,
CINNA,
Flavius and MARULLUS, Tribunes.
ARTEMIDORUS, a Sophist of Cnidos.
A Soothsayer.
CINNA, A Poet. Another Poet.
LUCILIUS, TITINIUS, MESSALA, young Cato, and Volum-

NIUS; Friends to Brutus and Cassius. VARRO, Clitus, CLAUDIUS, STRATO, LUCIUS, DARDANIUS;

Servants to Brutus. PINDARUS, Servant to Cassius.

CALPHURNIA, Wife to Cæsar.
PORTIA, Wife to Brutus.

Senators, Citizens, Guards, Attendants, &c.

SCENE, during a great part of the Play, at Rome:

afterwards at SARDIS; and near PHILIPPI.

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Enter Flavius, MARULLUS, and a Rabble of Citizens.

Flavius.

HENCE ; home, you idle creatures, get you home;
Is this a holiday? What! know you not,
Being mechanical, you ought not walk,
Upon a labouring day, without the sign
Of your profession ?-Speak, what trade art thou ?

i Cit. Why, sir, a carpenter.

Mar. Where is thy leather apron, and thy rule ?
What dost thou with thy best apparel on ?
You, sir : what trade are you?

2 Cit. Truly, sir, in respect of a fine workman, I am but, as you would say, a cobbler.

Mar. But what trade art thou? Answer me directly.

2 Cit. A trade, sir, that, I hope, I may use with a safe conscience; which is, indeed, sir, a mender of bad soals. Mar. What trade, thou knave? thou naughty knave,

what trade? 2 Cit. Nay, I beseech you, sir, be not out with me: yet, if you be out, sir, I can mend you.

Mar. What meanest thou by that? Mend me, thou saucy fellow!

2 Cit. Why, sir, cobble you.

Flav. Thou art a cobbler, art thou?

2 Cit. Truly, sir, all that I live by is, with the awl: I meddle with no tradesman's matters, nor women's matters, but with awl. I am, indeed, sir, a surgeon to old shoes; when they are in great danger, I re-cover them. As proper men as ever trod upon neats-leather, have gone upon my handy-work,

Flav. But wherefore art not in thy shop to-day? Why dost thou lead these men about the streets ?

2 Cit. Truly, sir, to wear out their shoes, to get myself into more work. But, indeed, sir, we make holiday, to see Cæsar, and to rejoice in his triumph. Mar. Wherefore rejoice? What conquest brings he

home?
What tributaries follow him to Rome,
To grace in captive bonds his chariot wheels ?
You blocks, you stones, you worse than senseless

things!
O, you hard hearts, you cruel men of Rome,
Knew you not Pompey ? Many a time and oft
Have you climb'd up to walls and battlements,
To towers and windows, yea, to chimney-tops,
Your infants in your arms, and there have sat
The live-long day, with patient expectation,
To see great Pompey pass the streets of Rome:
And when you saw his chariot but appear,
Have you not made an universal shout,
That Tyber trembled underneath her banks,
To hear the replication of your sounds,
Made in her concave shores?
And do you now put on your best attire?
And do you now cull out a holiday ?
And do you now strew flowers in his way,
That comes in triumph over Pompey's blood

Be gone;

Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude.

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