In both plays he is considering the conception, the doing, and the results of a violent act. In both plays this act is the murder of the head of a State. In neither case is he deeply interested in the victim. Duncan, in Macbeth, is a generous gentleman; Cæsar, in this play, is a touchy man of affairs whose head is turned. Shakespeare's imagination broods on the fact that the killers were deluded into murder, Macbeth by an envious wife and the belief that Fate meant him to be king, Brutus by an envious friend and the belief that he was saving Rome. In both cases the killers show base personal ingratitude and treachery. In both plays, an avenging justice makes even the scales. The mind of the poet follows them from the moment when the guilty thought is prompted, through the agony and exultation of dreadful acts, to the unhappiness that dogs the treacherous, till Fate's just sword falls in vengeance. His imagination is most keenly stirred just as ours is, by the great event, the murder of the victim: but his subject is not the murder, nor yet the tragical end of a ruler. His subject in both plays is the working of Fate who prompts to murder, uses the murderer, and then destroys him. We are interested in crisis and in topic. The Elizabethans, with a wider vision, could not detach an act from its place in the pageant of history. In a modern play the heroine is put into an unpleasant position, or an evil is exposed, or our faults are made visible and laughable. The point of view is that of the sympathiser, reformer, and moralist looking on from the window near by. The field of vision is restricted and the object brought near. In this great play, as in Macbeth, Shakespeare strove to present a violent act and its consequences from the point of view of a great just spirit outside life.
The play is generally considered to be the earliest of the supreme plays. Little more can be said of it at this time than that it is supreme. There is a majesty in the conception that makes it like gathering and breaking storm. The cause of the murder is a great personal treachery inspired by an unselfish idea. Though it seems inevitable, it is a very little thing that makes it possible. Both Cæsar's murder and Brutus' downfall are almost prevented. A hand stretches out to save both of them. A little domestic treachery inspired by a selfish idea puts aside the interposing hand in both instances. Cæsar will not listen to his wife because he is sure of himself. Brutus will not answer his wife for the same reason. They go on to the magnificent hour which makes the one fine soul in the play a haunted and unhappy soul till he snatches at Death at Philippi.
The verse is calm, like the noble art that shapes the scenes. It is full of majesty. Lines occur in which single unusual words are charged with an incalculable power of meaning.
"Against the Capitol I met a lion,
Who glazed upon me and went surly by."
"It is the bright day that brings forth the adder."
Shakespeare's intensest and most solemn thought, the Law that directed the creation of some of his greatest work, is spoken by Brutus—
"Between the acting of a dreadful thing
And the first motion, all the interim is
Like a phantasma or a hideous dream:
The Genius and the mortal instruments
Are then in council, and the state of man,
Like to a little kingdom, suffers then
The nature of an insurrection."
Hamlet, Prince of Denmark.
Written. 1601-2.
Published, in an imperfect form, 1603; more perfectly, 1604.