His plans were mathematical, his soul sublime and his purpose eternal victory! Bravery and Caesar were synonymous terms, and the little, mean, pismire ambitions of Roman politicians he despised, striding over their corrupt schemes for pelf and office like a winter whirlwind. Brutus, while professing horror at the contemplated assassination of his friend and natural father Caesar, lent a willing ear and sympathetic voice to the prime conspirator--Cassius; and although seemingly dragged into the murderous plot, he was in heart the grand villain of the conspiracy, believing he might rise to supreme control of the Roman Empire when Julius the Great lay weltering in his heroic blood. Brutus was a dastard, an ingrate, a coward and a murderer, and no pretense of patriotism can save him from the contempt and condemnation of mankind. There is no justification for assassination! The death of Caesar was the first great blow in the final destruction of the Roman Empire, for up to this time the people had a voice in electing their tribunes, consuls and governors, and were consulted as to the burden of taxation, although many of their previous rulers had been terrible tyrants. Brutus and Cassius, and their coconspirators, city senators, who dipped their hands in Caesar's sacred blood, were finally driven from all political power, their estates confiscated, fleeing like frightened wolves to foreign fields and forests and perishing in battle as enemies to their country. When brought to bay at Philippi, Brutus and Cassius mustered up enough courage to commit suicide, which is confession of guilt. In the winter of 1597 William was deeply studying the new translation of Petrarch, and Florio was nightly teaching us the lofty philosophy of Grecian and Roman classics. The lives of noted ancient poets, orators, warriors, statesmen, governors, kings and philosophers, as written or compiled by the great Plutarch has furnished a mine of historic thought for the dramatic artist, and Shakspere, above all the men who ever thought, wrote or talked on the stage, took most advantage of the lines of Plutarch. The British people were clamoring for grand historical plays, not only for the actions of their own kings and queens, but demanded the enactment of the reigns of great, ancient warriors and kings who had given glory to Greece and Rome and left imperishable memories for posterity to avoid or emulate. Burbage, Henslowe and other theatrical managers, were ever on the lookout for plays to suit cash customers, and of course, the Bard of Avon had first call, because his plays went on the various stages like a torchlight procession, while those of his so-called compeers, struggled through the acts and scenes with only the flicker and sputter of tallow dips of dramatic thought.