Aclamado pela crítica, César é tão atraente para aqueles que conhecem a história de Roma, como para aqueles para os quais ela é apenas o rumor de eventos remotos, como disse Michael Wharton, do Evening Standard.

The story of Caesar's ascent to glory and his assassination is very well known. Probably the most famous version nowadays is Shakespeare's and Allan Massie's version does echo this a lot at times, even down to reproducing some of the dialogue. The story is told in the first person from the point of view of Decimus Brutus, a loyal and trusted officer who switches sides as the conspiracy gains ground. The novel takes the form of a memoir he is writing whilst incarcerated by a relative of the recently murdered Vercingetorix.

The story of the conspirators, their assemblies and machinations comes in the latter part of the novel. What precedes it is the story of Caesar's military adventures in the civil wars that lead to his eventual ascendency as dictator. There are a number of interesting passages covering the politics of Rome (Cicero is focused on as an ambiguous and not altogether likeable figure) as well as the sexual mores and marital relationships of the key protoagonists.

Some of the dialogue does read a little like a 1950s Holloywood epic - but it is difficult to create a language which is at once realistic enough for modern tastes as well as having the grandeur of the themes and the epoch making events. However, having said that, some of the dialogue does have an unexpected vigour. Here is a drunken Mark Antony with Decimus (nicknamed "Mouse" throughout the novel) and a servant who proves surplus to requirements:

"Cagey bugger, aren't you, always were. Tell me what I've been trying to decide, Am I celebrating or am I not?":
He gulped more wine, steadied himself on his elbow.
"That's better. Send this little brat away. We don't want slaves to hear what we have to say. Bloody gossips every man jack of them. F*** off, do you hear me and leave the sodding wine. That's better." (Chapter 15)

This reminds me of Roland Barthes' comments about how Romans have American haircuts in the films. Here they speak with a very British turn of phrase and rhythm. This is perhaps unavoidable and Massie does use it to create an engaging and provocative range of characters. Decimus may have been a relatively minor figure (but compared to Caesar, Brutus, Antony and Cicero who wouldn't be?), but this is useful in the novel as he mixes with all sides and is not too flamboyantly partizan to lose credibility.

Massie reveals a sense of history which he invigorates with effective plotting - there is genuine tension as the story develops, despite the fact that we know the outcome - and with some strong characterisation. The style, though, does not always fizz as a great novel might. ( )

Rather disappointing novel which is supposed to be the memoirs of Decimus Brutus, one of Julius Caesar's supporters who later became one of his murderers.

The Shakespearean and other echoes got irritating after a while. I was also irritated by the references to Octavius as Caesar's nephew rather than great-nephew (even to the point where it explicitly states Octavius's mother was Caesar's sister). The book should have been more interesting than it was, but I suppose that is the risk when you write from the point of view of a rather pedestrian character confronted and puzzled by genius. ( )

An intriguing, exhaustively-researched account of the latter years of Julius Caesar's life, steeped in internecine plots and labyrinthine conspiracies. Somehow it all left me rather cold. Although on the face of it Massie's prose is beautifully formed, somehow he seemed incapable of making the reader have any feelings at all about the characters. ( )

The first two thirds of this were a little difficult to get through, perhaps due to a certain lack of narrative drive, though I am a fan of Roman history and have read and loved all of Colleen McCullough's Masters of Rome series. It picked up in the final third with the run up to the assassination. ( )