ii. i, from 233.
Brutus's relations with Portia bear the same testimony. Portia is a woman with as high a spirit as Lady Macbeth, and she can inflict a wound on herself to prove her courage and her right to share her husband's secrets. But she lacks the physical nerve of Lady Macbeth; ii. iv.her agitation on the morning of the assassination threatens to betray the conspirators, and when these have to flee from Rome the suspense is too much for her and she commits suicide. Brutus knew his wife better than she knew herself, and was right in seeking to withhold the fatal confidence; yet he allowed himself to be persuaded: no man would be so swayed by a tender woman unless he had a tender spirit of his own. In all these ways we may trace an extreme of gentleness in Brutus. This is concealed under stoic imperturbability.But it is of the essence of his character that this softer side is concealed behind an imperturbability of outward demeanour that belongs to his stoic religion: this struggle between inward and outward is the main feature for the actor to bring out. iii. ii, from 14.It is a master stroke of Shakespeare that he utilises the euphuistic prose of his age to express impassiveness in Brutus's oration. The greatest of the world has just been assassinated; the mob are swaying with fluctuating passions; the subtlest orator of his day is at hand to turn those passions into the channel of vengeance for his friend: Brutus called on amid such surroundings to speak for the conspirators still maintains the artificial style of carefully balanced sentences, such as emotionless rhetoric builds up in the quiet of a study.
As Cæsar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him: but, as he was ambitious, I slew him. There is tears for his love; joy for his fortune; honour for his valour; and death for his ambition.
The antithesis reappears for Brutus in the action.
Brutus's nature then is developed on all its sides; in his character the antithesis of the outer and inner life disappears. It reappears, however, in the action; ii. i. 10-85.for Brutus is compelled to balance a weighty issue, with public policy on the one side, and on the other, not only justice to individual claims, but further the claims of friendship, which is one of the fairest flowers of the inner life. And the balance dips to the wrong side. If the question were of using the weapon of assassination against a criminal too high for the ordinary law to reach, this would be a moral problem which, however doubtful to modern thought, would have been readily decided by a Stoic. But the question which presented itself to Brutus was distinctly not this. ii. i. 18-34.Shakespeare has been careful to represent Brutus as admitting to himself that Cæsar has done no wrong: he slays him for what he might do.
The abuse of greatness is, when it disjoins
Remorse from power: and, to speak truth of Cæsar,
I have not known when his affections sway'd
More than his reason. But 'tis a common proof,
That lowliness is young ambition's ladder,