The Tragedy of Julius Caesar By William Shakespeare

The Tragedy of Julius Caesar By William Shakespeare

1. 2. 3. 4. 5. Ideas to Consider as We Read…. . Most people resent others’ power…. Sometimes being superstitious is a good thing…. No cause, political or other, is worth dying for… Revenge is like drinking poison… Power necessarily corrupts….

Ideas to Consider as We Read…. . 6. I am drawn more to advice from my peers than that from persons of authority…. 7. "The evil that men do lives after them; the good is [often buried] with their bones. ” 8. One instance of betrayal from a friend warrants ending that relationship… 9. People are drawn toward darkness, whether they admit it openly or not…. 10. Murder and honor cannot coexist….

Plot Diagram of Julius Caesar • Act I– Exposition- intro of characters, elements of setting (time, place) • Inciting Incident/Exciting Force- intro of major conflict, force that drives rest of plot • Act 2– Complication (Rising Action)- struggles intensify, plot events leading twrd climax • Act 3– Climax- highest point of tension/action • Act 4– Denouement (Falling Action)- events following climax, leading twrd resolution • Act 5– Resolution- loose ends tied up; major problems solved!

Act I, Scene i Setting: Streets of Rome, 44 B. C. Marullus & Flavius- 2 tribunes (officials elected to ‘protect’ interests of commoners) People are celebrating both the Feast of Lupercal and Caesar’s defeat of Pompey’s sons. (Caesar had defeated Pompey, an old rival, in 48 B. C; he has just defeated Pompey’s sons in battle)

Act I, Scene i Cobbler (shoemaker) & Carpenter- both commoners- meet Flavius, Marullus Note comic relief & pun- play on 2 words similar in sound and meaning- lines 13 -15 “mender of bad soles” F & M- see Caesar as threat to Rome’s republican rule, want to shame commoners, remind them of past loyalty to Pompey, lines 41 -5

Act I, Scene i Flavius- disgusted w/ celebrations He orders all statues be removed of any decorations celebrating Caesar (lines 73 -80) “These growing feathers plucked from Caesar’s wing/ Will make him fly an ordinary pitch…. ”

Act I, Scene ii Note evidence of superstition and ritual early in this scene: Caesar orders Antony to touch his wife Calpurnia so that she may become fertile. (Antony participating in Feast of Lupercal races- lead runner believed to be able to remove curse of sterility)

Act I, Scene ii ---Soothsayer (fortuneteller) to Caesar “Beware the ides of March. ” (foreshadowing) Ides- Latin- translated roughly to halfway point- ‘ides of march’- modern-day: metaphor for doom The arrogant Caesar blows him off: “He is a dreamer. Let us leave him pass. ”

Questions for Review 1. Why could Flavius and Marullus be described as officious and supercilious? 2. Look at the rhetorical ? s in Marullus’ speech in 1. 1. What is their function? “That Tiber trembled under her banks…”literary devices? . . Characterize the relationship between Caesar and Pompey. (C & P had a major falling out during their rule in the 1 st triumvirate of Rome…. )

Act I, Scene ii Cassius- is a shady, sly character- uses flattery to lure Brutus in; Cassius wants to take Caesar down, to take advantage of Brutus’ inner conflict regarding Caesar. Why might Brutus be conflicted? Brutus: “I love the name of honor more than I fear death. ” “I would not Cassius, yet I love him well. ”

Act I, Scene ii Brutus loves Caesar, but he fears that he will not lead Rome well. (internal conflict)-He is caught between his loyalty to a dear friend and his love of Rome, his commitment to honoring the good of the republic. Which Macbeth character does Brutus remind you of? Why?

Act I, Scene ii Cassius- ‘Why shouldn’t you, Brutus, be the leader of the Romans? You are just as good as Caesar!’ Cassius’ story of Caesar’s past: monologue- lines 97 -138 - Caesar is a physically weak man; why should someone like him be king? (cannot swim, fevers, epilepsy)

Act I, Scene ii Casca to Brutus- The people of Rome love Caesar, want to crown him king. Caesar ‘refused’ the crown 3 times, suffered epileptic fits, even offered the crowd his throat to be cut…. – a true spectacle! “if Caesar has stabbed their mothers they would have done no less…”

Act I, Scene ii Caesar on Cassius: He is very wary of him, yet he goes on to say he doesn’t fear him…. (dramatic irony/foreshadowing) Caesar- half deaf and epileptic Why do you think Shakespeare portrayed Caesar this way? . . .

Act I, Scene ii Cassius’ soliloquy- his plan to lure Brutus into the conspiracy against Caesar. Cassius’s plan- write letters in all sorts of handwriting, throw them in Brutus’ window (inciting incident/exciting force!) Note the presence of rhyming couplets. Cinna will plant the letters…. . (Every conspirator plays a key role)….

Act I, Scene iii Notice the omens Casca says he experienced (signs from nature, usually somewhat spooky/supernatural, that are linked to future disaster). Locate 5.

Act I, Scene iii A tempest (violent storm) A slave’s hand was on fire, but he is unscathed. There was a random lion in the capitol, but he did not attack. A crowd of women see a group of men walking around on fire. A creepy owl shrieking during the day (Shakespeare is clearly obsessed).

Act I, Scene iii Conspirators Brutus, Cassius, Casca, Cinna, Metellus Cimber, Trebonius, Decius (Later, another is added as revealed later in Act 2 - Caius Ligarius- he’s not so important, though).

Act II, Scene i Lucius- Brutus’ servant Brutus’ soliloquy illustrates his feelings about Caesar: ‘My issues w/ Caesar are not personal. I fear that if he is crowned king, he will change; power might go to his head. He seems to have risen to power too quickly and poses a danger to the republic. Ambition may ruin him- and Rome!’ – B’s internal conflict….

Act II, Scene i Key points of Brutus’ soliloquy: What is an adder anyway? ‘Th’ abuse of greatness is when it disjoins/Remorse from power. /…lowliness is young ambition’s ladder, /Whereto the climber upwards turns his face…scorning the base degrees/By which he did ascend. ’ Note the extended metaphor Note the simile in line 33.

Act. II, Scene Act Scenei i Brutus’ reaction to letters planted by Cinna: I will act on these requests of the Romans and do what is best. He is resolute in his decision. --- Has Brutus started to change? How so? What exactly is his tragic flaw? (ironically enough…)

Act. II, Scene Act Scenei i It is the ides of March (as Lucius reveals) All conspirators arrive Cassius- repeats what is contained in letters to make sure Brutus joins conspiracy (97 -102) Brutus: ‘Oaths are beneath us; they aren’t necessary for we are men of honor…. ’

Act. II, Scene Act Scenei i Cassius feels Marc Antony should also be killed, but Brutus does want to make things “too bloody. ” He feels Antony does not pose too much of a threat, “is only a limb of Caesar. /” – extended metaphor of body continues in 195, 6 Clock strikes- anachronism- placement of an event, idea, or person in wrong time period- Clocks didn’t exist at this time.

Questions for Review 1. Cassius’ monologue in 1. 2 - “Tis true, this god did shake!”- literary device? Line 127 Verbal Irony- Why? 2. Why does Brutus mention an adder and a ladder in his soliloquy in 2. 1? Lines 10 -36 Relies on an extended metaphor to make his point about Caesar’s dangerous rise to power 3. Brutus’ monologue in 2. 1, lines 186 -88 - literary devices? Similes and Parallelism- a similar structure in successive lines of poetry or prose

Act. II, Scene Act Scenei i Portia, Brutus’ wife, senses he is tormented, begs him to trust her and confide in her, tell her his secrets. She states that even though she is a woman, she can handle anything he may tell her. She even stabs herself in the thigh to show her toughness! Does she remind you of anybody? How so?

Literary Terms Review 1. Apostrophe- literary device in which someone (usually, but not always absent), some abstract quality, or a nonexistent personage is directly addressed. 2. Hyperbole- the use of grand language and/or exaggeration to achieve dramatic effect. (overstatement)

Literary Terms Review Brutus- 2. 1. 86 -94 O conspiracy, Shamest thou to show thy dangerous brow by night, /When evils are most free? O, then by day/ Where wilt thou find a cavern dark enough/ To mask thy monstrous visage? Seek none, conspiracy; / Hide it in smiles and affability: / For if thou path, thy native semblance on, / Not Erebus itself were dim enough/ To hide thee from prevention.

1. Apostrophe and personification- Brutus address the conspiracy as if it is a person. Note that the conspiracy is not yet present. 2. Alliteration: thou, thy, wilt, where, wilt, mask, monstrous…. 3. Allusion: Erebus- Greek god who personified darkness; also, dark passage through which the souls of the dead pass through Hades… 4. Hyperbole- Even the darkest of places wouldn’t be dim enough to hide the conspiracy unless they’re careful….

Act. II, Scene ii i Act Scene Caesar is very troubled by Calpurnia’s dream in which she cried out 3 X- “Help ho, they murder Caesar!” (foreshadowing) Omens she mentions: scary lioness, graves opening and closing, warriors fighting amongst themselves in the clouds, blood raining down on Capitol, horses going nutty… Doe she remind you of anybody? How so?

Act. II, Scene ii i Act Scene Calpurnia refers to omens as ‘comets from heaven’- He must not go to Capitol. Literary device in her speech? . . . Where and how is animal sacrifice present? What does this show about the Romans? Why does Caesar decide to ignore the advice of Calpurnia? What does this show about him?

Act. II, Scene ii i Act Scene Decius follows through on his pledge to conspirators to ensure that Caesar goes to Capitol- uses flattery and trickery “This dream is all amiss interpreted. / It is a vision fair and fortunate. ” This dream shows you are the lifeblood of Rome, giving Romans hope as a strong leader who will do what must be done! The blood is not a sign of death.

Act. II, Scene ii i Act Scene Decius’ deception continues…. Decius: The Romans intend to crown you king. Are you going to tell them that you fear your wife and are too scared to show? . .

Act II, iii-ivi Act II, Scene Artemidorus: He reads aloud a letter in which he tries to warn Caesar of the plot against him. He will try to pass this letter to Caesar as he passes on his way to Capitol. Portia is a mental wreck at this point. She is onto the conspirators. She pumps the soothsayer for info, but she can only wait….

Act. II, III, Scene i i Act Caesar dismisses Artemidorus’ attempt to warn him about the threat to his life. “What touches us ourself shall be last served…. What, is the fellow mad? ”

Act II, III, Scene I i Act Poetic license: freedom taken by a poet, prose writer, or other artist in deviating from rule, conventional form, logic, or actual fact, in order to produce a desired, more dramatic effect. Shakespeare dramatized some of the actual history behind the story of JC’s assassination…. .

Act. II, III, Scene i i Act Conspirators each play a role in the assassination. Trebonius: “draws Marc Antony out of the way. ” (During the murder, Trebonius will pull MA aside so that he cannot protect C). Metellus Cimber: distracts Caesar by asking him to lift the banishment (exile) placed upon his brother, Publius Cimber. Casca: He will be the first to stab Caesar; others will then join him. (As Cinna states, “You are the first that rears your hand…” line 32)

Act. II, III, Scene i i Act Caesar refuses to lift the banishment he has placed upon Publius Cimber: “I am as constant as the Northern Star. ” Casca stabs Caesar, others join in Et tu, Brute? (Latin- you too, Brutus? )- shows Caesar’s recognition of the betrayal According to Brutus’ instructions, conspirators smear their swords, wash and hands in Caesar’s blood, walk around crying, Peace, Freedom, Liberty!

Act. II, III, Scene i i Act Marc Antony’s servant enters, pledging that Marc Antony will be loyal to Brutus now that Caesar is dead. Brutus assures the servant that MA will be “untouched. ” How does Cassius feel about Marc Antony’s vow? (lines 160 -2) What had he said in II. i about Brutus’ decision to let Marc Antony live? What does this show about Cassius?

Act. II, III, Scene i i Act When he appears, Marc Antony is trying to get the conspirators to trust him. He tells them that if they wish to kill him, then he would feel honored to die next to Caesar’s body. Brutus assured MA that he is not in danger. MA- “…you shall give me reasons/Why and wherein Caesar was dangerous” (Why did you kill my friend? . . )

Act. II, III, Scene i i Act Marc Antony- let me speak at the funeral Cassius doesn’t think this is such a hot idea Brutus grants Marc Antony permission to speak at C’s funeral under these conditions: - Brutus speaks first - MA has to tell the crowd he is speaking b/c Brutus said he could. - MA cannot speak badly about the conspirators.

Act. II, III, Scene i i Act What happens when MA speaks over Caesar’s body? In this soliloquy, MA vows to Caesar’s corpse that he will avenge Caesar’s death, will go after the conspirators bigtime. He invokes help of Ate (allusion to Greek mythology, god of discord & vengeance) to make Brutus & conspirators pay. MA- not afraid to start bloodiest of wars in getting justice for his friend.

Act. II, III, Scene i i Act Octavius is on his way to Rome (Caesar’s great-nephew, actually did go on to rule Rome under the name Augustus)…

Act II, III, Scene ii i Act Pay close attention to the rhetoric in Brutus’ and MA’s speech: which proves more effective in winning over the plebeians? Rhetoric: the art of speaking and writing persuasively; skill in using language effectively Rhetorical devices: techniques writers (speakers) use to enhance their arguments and communicate more effectively

Act II, III, Scene ii i Act Parallelism- same grammatical constructions or syntactical patterns used over and over again to emphasize points Rhetorical ? s: questions posed to elicit a reaction, to promote critical thought and speculation, rather than an actual response Paralepsis- the method of emphasizing a point by seeming to pass over it

More on Rhetorical Devices Act II, Scene i 3 main forms of appeal can be used in making a persuasive argument. (These concepts date back to Aristotle- notice their Greek etymology). ETHOS- an appeal based on the moral character of the author (speaker). It is constructed through tone and style, as well as through direct references to the author's credibility. PATHOS- an argument appealing to the sympathy or emotion of the audience LOGOS- think in terms of logic and reason….

Questions for Review 1. In what various contexts has the number 3 • • • appeared thus far? Caesar denies the crown 3 X Conspirators break up their meeting at 3 AM on 3/15 Calpurnia cries out Caesar’s names 3 x in her sleep Cassius tells the conspirators that they have “three parts” of Brutus already Act IV when Marc Antony belittles Lepidus (new character)- we’ll develop this plot point….

Questions for Review 2. Where have we seen strong examples of situational irony so far? Caesar’s death- notice that his body falls at the base of Pompey’s statue. Also, the way he is murdered loaded w/ situational irony. ‘We are purgers not murderers…’ 3. What statement does the play seem to make/suggest about the concept of death? Cite plot points/ quotes as evidence…. .

Brutus’ Speech i Act II, Scene He establishes his credibility and honor immediately by stating, rather logically, his reasons for killing Caesar: “as he was ambitious, I slew him. ” The crowd is convinced by his authoritative pledge to protect the republic. At the end of his speech, he appeals to the plebeians’ sense of nationalism…. . His 3 objectives: Establish his honor, that of the conspirators, and the necessity of Caesar’s death. His ambition would have choked the republic!

Act. MA’ II, Speech Scene i MA cleverly persuades the crowd into believing that Caesar’s murder was unjust and that the people should rise up. (Remember his vows during the soliloquy). He established that Caesar was not “ambitious” and cites C’s kind actions toward the Romans…. Notice the presentation of the body and the will… Does he violate the terms of his previous agreement with Brutus? . . .

Rhetorical devices in Brutus’ speech Act II, Scene i - Repetition: “honor”, “ambition”, “love”, “weep”- these appeal to crowd’s emotions - Parallelism- same types of sentences and constructions used over and over again emphasize his points - Key example of parallelism: “Hear me…. believe me…. censure me…”

Rhetorical devices in Brutus’ speech Act II, Scene i - Note the repetitious use of “If…. ” towards the end- This an example of anaphorarepetition of an initial word/s to emphasize a key point. - Rhetorical questions “Who here is so vile that will not love his country? ” (appeals to the plebeians’ sense of nationalism) - How could we characterize his tone? . .

Rhetorical Brutus’ Act. Devices. II, Scene i speech Hear: Listen to me so I can make my point (logos) Believe: I am an honorable man (ethos) Censure: Judge me accordingly (logos) Brutus pairs Caesar’s accomplishments w/ his own reactions: Caesar loved………. . I weep (PATHOS) was fortunate………I rejoice (ETHOS) was valiant…………I honor (ETHOS) Was ambitious……. . I slew (LOGOS)

Act II, III, Scene ii i Act Rhetorical devices in MA’s speech Repetition- Honorable, ambitious Antony emphasizes that Caesar was not ambitious- at least in the negative way the conspirators suggest- and that the conspirators are not honorable Did in this Caesar seem ambitious? . . . (had denied crown 3 x during Feast of Lupercal)

More speech Acton. II, MA’s Scene i Rhetorical questions- (several times) He wants his listeners to think they have a say in what he is doing or even that they are controlling him. The crowd is reacting in exactly the way Antony wants them to: he is manipulating them, but they do not seem to realize it…. .

More on MA’s speech Act II, Scene i Paralepsis- emphasizing a point by seeming to pass over it (the reading of the will). Notice that he wants the audience to hear about Caesar’s will. Why? . . Verbal irony- “Brutus is an honorable man”…I am no orator” What is the effect of the presence of Caesar’s body upon the audience? (Notice how MA shows them the wounds and uses the conspirators names as he does so).

More on MA’s speech… Act II, Scene i Ethos- I can be trusted!- Notice how he defers, speaks ‘respectfully’ to Brutus. He uses Brutus’ own words to begin his speech. Pathos- this is perhaps his most cleverly used rhetorical appeal!- ‘He was my friend, faithful, and just to me…My heart is in the coffin…’- use of the body! Logos- apparent in his use of the will: If Caesar was so ‘ambitious’ then why would he have been so generous and gracious? !

Act III, Scene ii Act II, Scene i MA persuades the crowd into believing that Caesar’s murder was unjust and that the people should rise up. (Remember his vows during the soliloquy). ‘We’ll mutiny…. “We’ll burn the house of Brutus!” (plebeians) Lepidus joins forces w/ MA and Octavius Brutus and Cassius have fled Rome b/c they are scared of the plebeians, who have turned against them.

Act III, Scene iii Act II, Scene i Cinna the poet is torn to death because the crowd has gone wild. At first, they think he is Cinna, one of the conspirators, but when they realize he is Cinna the poet, they shrug it off and murder him anyway. (They’re all riled up, want revenge, acting like lunatics). Cinna the poet is used to emphasize how effective MA’s speech was in ‘turning’ the plebeians against the conspirators….

1. “These growing feathers plucked from Act II, make Scene Caesar’s wing/ Will him flyi an ordinary pitch…. ” 2. “Beware the ides of March…” 3. “I love/ the name of honor more than I fear than death…. I would not Cassius, yet I love him well. ” 4. “Help ho, they murder Caesar!” …. . When beggars die there are no comets seen…” 5. “if Caesar has stabbed their mothers they would have done no less…”

6. “This dream is all amiss interpreted. / It is a Act II, Scene i vision fair and fortunate. ” 7. “Can I bear that with patience, /Not my husband’s secrets? ” 8. For Antony is but a limb of Caesar. . ” 9. “And Caesar’s spirit with Ate by his side come hot from hell, …shall cry Havoc! and let slip the dogs of war. ” 10. Who here is so vile that will not love his country? 11. “Did in this Caesar seem ambitious? . . .