Not only are these scenes in both dramatists almost exactly parallel in sentiment, but the abruptness of the conclusion and the sequence of the following scenes are noteworthy. Pescetti dismisses the idea thus:
Bru.— “Chiunque ama virtù, figlio è di Giove;
Ma ciò lasciam da parte, e ogni nostro
Pensier intorno si raggiri, e volga
Alla morte di Giulio.”—P. 27.
In Shakespeare, Trebonius, whom Plutarch represents as opposing Antony’s entry into the conspiracy, lightly dismisses the subject:
Treb.— “There is no fear in him; let him not die;
For he will live and laugh at this hereafter.”—II., 1, ll. 190–92.
It is peculiar that in both Pescetti and Shakespeare the sequence of the immediately following scenes is the same. In the former Brutus proceeds to detail the plans for Caesar’s assassination, and as he finishes, Portia enters. He concludes:
“Ma giamo ad informar del tutto gli altri,
Acciò gli spirti destino, e le forze,
Et apparecchin l’arme all’alta impresa.”—P. 28.
This is closely followed by the entry of Portia. In Shakespeare the conspirators discuss ways and means of getting Caesar to the Capitol.
Towards the conclusion we have: