Plutarch, Antony
Bernadotte Perrin, Ed.

16. At this state of affairs the young Caesar came to Rome, a son of the dead Caesar's niece, as has been said,¹ who had been left heir to his property. He had been staying at Apollonia when Caesar was assassinated. The young man greeted Antony as his father's friend, and reminded him of the moneys deposited with him. For he was under obligation to give every Roman seventy-five drachmas, according to the terms of Caesar's will. [2] But Antony, at first despising him as a mere stripling, told him he was out of his senses, and that in his utter lack of good judgment and of friends he was taking up a crushing burden in the succession of Caesar. And when the young man refused to listen to this, and demanded the moneys, Antony kept saying and doing many things to insult him. For instance, he opposed him in his canvass for a tribuneship, and when he attempted to dedicate a golden chair in honour of his father by adoption, according to a decree of the senate, Antony threatened to hale him off to prison unless he stopped trying to win popular favour. [3] When, however, the young man made common cause with Cicero and all the other haters of Antony, and with their aid won the support of the senate, while he himself got the goodwill of the people and assembled the soldiers of Caesar from their colonies, then Antony was struck with fear and came to a conference with him on the Capitol, and they were reconciled.

Afterwards, as he lay asleep that night, Antony had a strange vision. He thought, namely, that his right hand was smitten by a thunder-bolt. [4] And after a few days a report fell upon his ears that the young Caesar was plotting against him. Caesar tried to make explanations, but did not succeed in convincing Antony. So once more their hatred was in full career, and both were hurrying about Italy trying to bring into the field by large pay that part of the soldiery which was already settled in their colonies, and to get the start of one another in winning the support of that part which was still arrayed in arms.