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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 coun. cils 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 ad. heres 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

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From the ('handlos portrait in the National Portrait

Gallery, London.

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