Even Brutus's own speech Shakespeare has moulded with the rarest art. Plutarch relates that when Brutus wrote Greek he cultivated a "compendious" and laconic style, of which the historian adduces a string of examples. He wrote to the Samians: "Your councels be long, your doings be slow; consider the end." And in another epistle: "The Xanthians, despising my good wil, haue made a graue of dispaire; and the Patareians, that put themselves into my protection, have lost no iot of their liberty: and therefore whilst you haue libertie, either chuse the iudgement of the Patareians or the fortune of the Xanthians." See now, what Shakespeare has made out of these indications:-- "Romans, countrymen, and lovers! hear me for my cause, and be silent, that you may hear: believe me for mine honour, and have respect to mine honour, that you may believe. ... If there be any in this assembly, any dear friend of Cæsar's, to him I say, that Brutus' love to Cæsar was no less than his. If, then, that friend demand, why Brutus rose against Cæsar, this is my answer:--Not that I loved Cæsar less, but that I loved Rome more." And so on, in this style of laconic antithesis. Shakespeare has made a deliberate effort to assign to Brutus the diction he had cultivated, and, with his inspired faculty of divination, has, as it were, reanimated it:-- "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." With ingenious and yet noble art the speech culminates in the question, "Who is here so vile that will not love his country! If any, speak; for him have I offended." And when the crowd answers, "None, Brutus, none," he chimes in with the serene assurance, "Then none have I offended." The still more admirable oration of Antony is in the first place remarkable for the calculated difference of style which it displays. Here we have no antitheses, no literary eloquence; but a vernacular eloquence of the most powerful demagogic type. Antony takes up the thread just where Brutus has dropped it, expressly assures his hearers at the outset that this is to be a speech over Cæsar's bier, but not to his glory, and emphasises to the point of monotony the fact that Brutus and the other conspirators are all, all honourable men. Then the eloquence gradually works up, subtle and potent, in its adroit crescendo, and yet in truth exalted by something which is not subtlety: glowing enthusiasm for Cæsar, scathing indignation against his assassins. The contempt and anger are at first masked, out of consideration for the mood of the populace, which has for the moment been won over by Brutus; then the mask is raised a little, then a little more and a little more, until, with a wild gesture, it is torn off and thrown aside. Here again Shakespeare has utilised in a masterly fashion the hints he found in Plutarch, scanty as they were:--