Coro di Cittadini
Coro di Soldati
The tragedy proper is preceded by a prologue in which Mars, Venus, and Jove are the actors. Pescetti, probably following Ovid’s account in Book XV. of the “Metamorphoses,” represents Venus as bewailing the destined death of Caesar, the last of her earthly descendants. Mars extends his consolation and proffers his aid. She informs him that Jove is responsible, and indulges in a denunciation of the Thunderer that must have made his celestial ears tingle. All further discussion of the matter is terminated by the appearance of the Father of the gods, who reproves Venus for her blasphemous utterances, assures her that his ways are inscrutable, and consoles her by promising Caesar immortality among the gods, and the infliction of dire punishment upon his assassins. Venus bows to his will, and impatient Mars hurries at Jove’s command to sow the seeds of civil strife throughout the Roman world.
This Prologue is a literary curiosity. Its style is at times more reminiscent of the madrigal than of tragedy, while the very earthly flavor which clings to the celestial personages is decidedly humorous to the modern reader. Pescetti undoubtedly was in grim earnest when he wrote the Prologue, but many of the sentences he puts in the mouths of his immortals must have made Melpomene smile. The admonition of Venus to Mars on omniscient Jove’s approach, “Ma e’ vien ver noi, tacciam, ch’egli non ci oda,” despite its Renaissance setting, is delightful for its sheer absurdity.
The tragedy follows immediately after this prologue. In view of the extreme length of Pescetti’s work and the lack of interest for our purpose in many of the speeches, I have thought it advisable not to inflict upon the reader an extended synopsis of the plot, but to confine my efforts to the following outline of the story.
Act I
The scene is not stated, but is evidently, throughout the play, an open space before a temple in the vicinity of Caesar’s house. The time is just before dawn. Brutus is discovered apostrophizing the shade of Pompey. He vows to deliver Rome from the tyrant. Cassius overhears him, and commends this resolution. Brutus relates how the ghost of Pompey had appeared to him during the past night and commanded him to restore the ancient liberties. Together, they enter the temple to pray for the success of their enterprise. The Priest now appears, deplores the prevalent irreligion, urges the observance of the ancient rites, and then goes to prepare the sacrifice commanded by the Dictator. Brutus and Cassius reappear and discuss their plans. Cassius strongly favors the killing of Antony along with Caesar. This Brutus will not tolerate, in spite of the many forceful arguments of his fellow conspirator. He abruptly terminates the discussion by detailing the manner of Caesar’s murder. As he concludes, Portia enters in search of Brutus. She deplores that her sex prevents her taking an active part in the conspiracy. She begs to be favored with their confidence. Cassius hesitates, but finally divulges their plans, and beseeches her to aid the enterprise with her prayers. This, rather reluctantly, she promises. Brutus, who has taken no part in this conversation, now bursts into an ecstatic speech wherein, in imagination, he already hears the rejoicing which the news of the tyrant’s death will cause among Rome’s noblest families. He advises Portia to return home while he and Cassius go to join the other conspirators. Portia invokes the blessing of Heaven on them, and the act concludes as the Chorus of Matrons implores the intercession of Romulus to restore to the city its former peace and happiness.
Act II
Calpurnia and her nurse indulge in the inevitable lengthy and tiresome discussion concerning the former’s terrible dream. The ghost of Caesar, horrible with wounds, had appeared to her that night. Almost half the act is devoted to Calpurnia’s expression of grief and to her nurse’s fruitless efforts at consolation. The Chorus declaims the fickleness of mankind, whereupon Brutus and Portia reappear. The former, believing that his wife has wounded herself in some domestic labor, reproves her for turning her hands to such work. She tells him that she has wounded herself to prove that she could commit suicide were her death necessary. She fears that her husband may perish in his attempt against Caesar and has resolved to restrain him. This dialogue, filled with mutual protestations of love and constancy, is terminated by the appearance of Calpurnia, whose perturbed countenance prompts them to overhear her. Calpurnia, in a long and tiresome speech, condemns the desire of men for dominion over others as the cause of all their sufferings. The nurse interjects the usual advice and consolation. Calpurnia voices her determination to persuade Caesar to abandon his contemplated visit to the Senate. Brutus petitions Jove to steel the tyrant’s heart to the appeals of his wife. Portia retires to pray for her husband’s success, while he goes to rejoin Cassius and the others in the plot. The Chorus sings the mutability of human happiness, and the act ends.