Instantly seizing upon this shallow pretext for a fight, Casca sprang at Caesar and struck him with a dirk, Caesar grabbing him by the arm with his right hand, and launching a blow straight from the shoulder with his left, that sent the reptile bleeding to the earth. He then backed up against Pompey's statue, and squared himself to receive his assailants. Cassias and Cimber and Cinna rushed upon him with their daggers drawn, and the former succeeded in inflicting a wound upon his body; but before he could strike again, and before either of the others could strike at all, Caesar stretched the three miscreants at his feet with as many blows of his powerful fist. By this time the Senate was in an indescribable uproar; the throng of citizens in the lobbies had blockaded the doors in their frantic efforts to escape from the building, the sergeant-at-arms and his assistants were struggling with the assassins, venerable senators had cast aside their encumbering robes, and were leaping over benches and flying down the aisles in wild confusion toward the shelter of the committee-rooms, and a thousand voices were shouting "Po-lice! Po-lice!" in discordant tones that rose above the frightful din like shrieking winds above the roaring of a tempest. And amid it all great Caesar stood with his back against the statue, like a lion at bay, and fought his assailants weaponless and hand to hand, with the defiant bearing and the unwavering courage which he had shown before on many a bloody field. Billy Trebonius and Caius Legarius struck him with their daggers and fell, as their brother-conspirators before them had fallen. But at last, when Caesar saw his old friend Brutus step forward armed with a murderous knife, it is said he seemed utterly overpowered with grief and amazement, and, dropping his invincible left arm by his side, he hid his face in the folds of his mantle and received the treacherous blow without an effort to stay the hand that gave it. He only said, "Et tu, Brute?" and fell lifeless on the marble pavement.
We learn that the coat deceased had on when he was killed was the same one he wore in his tent on the afternoon of the day he overcame the Nervii, and that when it was removed from the corpse it was found to be cut and gashed in no less than seven different places. There was nothing in the pockets. It will be exhibited at the coroner's inquest, and will be damning proof of the fact of the killing. These latter facts may be relied on, as we get them from Mark Antony, whose position enables him to learn every item of news connected with the one subject of absorbing interest of-to-day.
LATER:—While the coroner was summoning a jury, Mark Antony and other friends of the late Caesar got hold of the body, and lugged it off to the Forum, and at last accounts Antony and Brutus were making speeches over it and raising such a row among the people that, as we go to press, the chief of police is satisfied there is going to be a riot, and is taking measures accordingly.
THE WIDOW'S PROTEST
One of the saddest things that ever came under my notice (said the banker's clerk) was there in Corning during the war. Dan Murphy enlisted as a private, and fought very bravely. The boys all liked him, and when a wound by and by weakened him down till carrying a musket was too heavy work for him, they clubbed together and fixed him up as a sutler. He made money then, and sent it always to his wife to bank for him. She was a washer and ironer, and knew enough by hard experience to keep money when she got it. She didn't waste a penny.
On the contrary, she began to get miserly as her bank-account grew. She grieved to part with a cent, poor creature, for twice in her hard-working life she had known what it was to be hungry, cold, friendless, sick, and without a dollar in the world, and she had a haunting dread of suffering so again. Well, at last Dan died; and the boys, in testimony of their esteem and respect for him, telegraphed to Mrs. Murphy to know if she would like to have him embalmed and sent home, when you know the usual custom was to dump a poor devil like him into a shallow hole, and then inform his friends what had become of him. Mrs. Murphy jumped to the conclusion that it would only cost two or three dollars to embalm her dead husband, and so she telegraphed "Yes." It was at the "wake" that the bill for embalming arrived and was presented to the widow.
She uttered a wild, sad wail that pierced every heart, and said, "Sivinty-foive dollars for stooffin' Dan, blister their sowls! Did thim divils suppose I was goin' to stairt a Museim, that I'd be dalin' in such expinsive curiassities!"
The banker's clerk said there was not a dry eye in the house.
THE SCRIPTURAL PANORAMIST
"There was a fellow traveling around in that country," said Mr. Nickerson, "with a moral-religious show—a sort of scriptural panorama—and he hired a wooden-headed old slab to play the piano for him. After the first night's performance the showman says:
"'My friend, you seem to know pretty much all the tunes there are, and you worry along first rate. But then, didn't you notice that sometimes last night the piece you happened to be playing was a little rough on the proprieties, so to speak—didn't seem to jibe with the general gait of the picture that was passing at the time, as it were—was a little foreign to the subject, you know—as if you didn't either trump or follow suit, you understand?'
"'Well, no,' the fellow said; 'he hadn't noticed, but it might be; he had played along just as it came handy.'
"So they put it up that the simple old dummy was to keep his eye on the panorama after that, and as soon as a stunning picture was reeled out he was to fit it to a dot with a piece of music that would help the audience to get the idea of the subject, and warm them up like a camp-meeting revival. That sort of thing would corral their sympathies, the showman said.
"There was a big audience that night—mostly middle-aged and old people who belong to the church, and took a strong interest in Bible matters, and the balance were pretty much young bucks and heifers—they always come out strong on panoramas, you know, because it gives them a chance to taste one another's complexions in the dark.
"Well, the showman began to swell himself up for his lecture, and the old mud-jobber tackled the piano and ran his fingers up and down once or twice to see that she was all right, and the fellows behind the curtain commenced to grind out the panorama. The showman balanced his weight on his right foot, and propped his hands over his hips, and flung his eyes over his shoulder at the scenery, and said:
"'Ladies and gentlemen, the painting now before you illustrates the beautiful and touching parable of the Prodigal Son. Observe the happy expression just breaking over the features of the poor, suffering youth—so worn and weary with his long march; note also the ecstasy beaming from the uplifted countenance of the aged father, and the joy that sparkles in the eyes of the excited group of youths and maidens, and seems ready to burst into the welcoming chorus from their lips. The lesson, my friends, is as solemn and instructive as the story is tender and beautiful.'
"The mud-jobber was all ready, and when the second speech was finished, struck up:
"Oh, we'll all get blind drunk
When Johnny comes marching home!
"Some of the people giggled, and some groaned a little. The showman couldn't say a word; he looked at the pianist sharp, but he was all lovely and serene—he didn't know there was anything out of gear.
"The panorama moved on, and the showman drummed up his grit and started in fresh.