If we are to accept the opinion of some critics, Shakespeare was influenced in his treatment of the subject by the recent failure of the Duke of Essex’ rebellion. It showed plainly and forcibly the folly of opposition to the monarchial power. The same idea can be discovered in Pescetti. Much as he lauds Brutus, the practical considerations of authorship compel him at times to a consideration of contemporary conditions. Possibly he realized that he was going too far in his denunciation of Caesar, for we find the Nurse engaging in a defense of monarchs, and declaring,
“E non son altro i Regi, che Vicari Del sommo Giove.”—P. 55.
At the end of the play, the author is careful to emphasize the futility of fighting against the established order:
“E chiaro vedrai meco, Che questo mondo è una perpetua guerra, Ove l’un l’altro atterra, E si tosto, ch’un manca, Rinasce un altro, e ’l mondo si rinfranca.”—P. 149.
But it is quite possible that neither Pescetti nor Shakespeare had the faintest idea of introducing any such problem into their tragedy. Possibly both dramatized history as they conceived it, without any attempt to invest their work with a larger significance. Yet consciously or unconsciously, by thus representing their hero as morally immaculate, actuated solely by the highest and most unselfish motives, while the representative of monarchy is depicted as weak, vacillating, and tyrannous, both Pescetti and Shakespeare have secured for the problem its most elemental and most emphatic statement.
Both dramatists, therefore, approached the subject in the same spirit. Both excluded from their portrait of Brutus whatever seemed to reflect unfavorably upon his character; both included whatever might add to his moral elevation. It is this peculiar insistence upon certain traits of Brutus’ character to the exclusion of others, that furnishes a close parallel between the two plays.[92]
The Brutus of “Cesare”, at his first appearance, curiously resembles the Brutus of “Julius Caesar” after the famous soliloquy. He is torn by no doubts as to the moral excellence of his plans: his whole soul is bent upon the destruction of the tyrant. Thus, in his opening speech[92] he exclaims,
“Oggi a Roma farò conoscer, ch’io Degno nipote son di quel gran Bruto, Che di questa Città cacciando i Regi Alta vendetta, e memorabil feo Del barbarico stupro di Lucrezia. Roma, oggi questa mano, e questo ferro, O hà da sciorre, e romper le catene, Ond’ in duro servaggio avvinta sei, O hà da trar di vergognosa, e grave Vita, anzi morte me.”—P. 12.