In 1601 Shakespeare made a new departure by drawing a plot from North's noble translation of Plutarch's 'Lives.' Plutarch is the king of biographers, and the deference which Shakespeare paid his work by adhering to the phraseology wherever it was practicable illustrates his literary discrimination. On Plutarch's lives of Julius Caesar, Brutus, and Antony, Shakespeare based his historical tragedy of 'Julius Caesar.' Weever, in 1601, in his 'Mirror of Martyrs, ' plainly refers to the masterly speech in the Forum at Caaesar's ...
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In 1601 Shakespeare made a new departure by drawing a plot from North's noble translation of Plutarch's 'Lives.' Plutarch is the king of biographers, and the deference which Shakespeare paid his work by adhering to the phraseology wherever it was practicable illustrates his literary discrimination. On Plutarch's lives of Julius Caesar, Brutus, and Antony, Shakespeare based his historical tragedy of 'Julius Caesar.' Weever, in 1601, in his 'Mirror of Martyrs, ' plainly refers to the masterly speech in the Forum at Caaesar's funeral which Shakespeare put into Antony's mouth. There is no suggestion of the speech in Plutarch; hence the composition of 'Julius Caesar' may be held to have preceded the issue of Weever's book in 1601. The general topic was already familiar on the stage. Polonius told Hamlet how, when he was at the university, he 'did enact Julius Caesar; he was kill'd in the Capitol: Brutus kill'd him.' A play of the same title was known as early as 1589, and was acted in 1594 by Shakespeare's company. Shakespeare's piece is a penetrating study of political life, and, although the murder and funeral of Caesar form the central episode and not the climax, the tragedy is thoroughly well planned and balanced. Caesar is ironically depicted in his dotage. The characters of Brutus, Antony, and Cassius, the real heroes of the action, are exhibited with faultless art. The fifth act, which presents the battle of Philippi in progress, proves ineffective on the stage, but the reader never relaxes his interest in the fortunes of the vanquished Brutus, whose death is the catastrophe. While 'Julius Caesar' was winning its first laurels on the stage, the fortunes of the London theatres were menaced by two manifestations of unreasoning prejudice on the part of the public. The earlier manifestation, although speciously the more serious, was in effect innocuous. The puritans of the city of London had long agitated for the suppression of all theatrical performances, and it seemed as if the agitators triumphed when they induced the Privy Council on June 22, 1600, to issue to the officers of the Corporation of London and to the justices of the peace of Middlesex and Surrey an order forbidding the maintenance of more than two playhouses-one in Middlesex (Alleyn's newly erected playhouse, the 'Fortune' in Cripplegate), and the other in Surrey (the 'Globe' on the Bankside). The contemplated restriction would have deprived very many actors of employment, and driven others to seek a precarious livelihood in the provinces. Happily, disaster was averted by the failure of the municipal authorities and the magistrates of Surrey and Middlesex to make the order operative. All the London theatres that were already in existence went on their way unchecked.
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