Page:The Tragedy of Julius Caesar (The Warwick Shakespeare).djvu/25

 for Portia, his readiness to be reconciled with Cassius; it justifies the warmth of the regard which all his followers show for him; it explains the fact that his arch-enemy has words to say of him as kindly as his dearest friends. In fine, he is a very noble gentleman, seeking to accomplish what could only be effected by a very able man. Being both unpractical and impracticable he fails completely; and yet he leaves on our minds the feeling that the high panegyric pronounced over his dead body by Antony is well deserved, and that it comes most fittingly and rightly from his most implacable foe.

The character of Antony is not completed in this play; in its strength and weakness it is fully presented in Antony and Cleopatra. The most noteworthy points of it are shown in the great scene of the funeral oration, and will be found treated at considerable length in the notes. Perfectly remorseless, he has very strong affections and is genuinely devoted to Cæsar, while he is capable of a generous appreciation in Brutus of virtues which he lacks himself. His great capacities are to be wrecked by his uncontrollable passions; but as yet the passions have not broken loose. What we are here impressed by is his extraordinary brilliancy and power of rising to a crisis, combined with the intensity of his personal feelings, and his complete absence of scruple. He has no hesitation in abusing the trust reposed in him by Brutus, and absolutely defying the spirit of his promise while he adheres to its letter; nor has he any qualms about using Lepidus as a temporary tool, to be tossed on one side when convenient. When his personal feelings are stirred and his affections warmly engaged he is ready to face any danger or difficulty; but he has no sense of moral obligation whatever.

Octavius is his foil—as cold and calm and stubborn as Antony is fiery and impulsive; as remorseless, as unscrupulous, as unflinching—we feel here, as we feel with treble force in Antony and Cleopatra, that he is resistless, unvanquishable, the chosen instrument of Fate that will not be denied.

The parts of Portia and Calpurnia are small, but they afford an effective and artistic contrast in their appropriateness