Transcript Julius Caesar Quote (Act I, Scene II).

Shakespeare and the canon
Chapter 5. Reading Julius Caesar
Introduction:
What is a tragedy?
It first came from Aristotle, the Greek writer in his
book Poetics.
It is a story which creates a feeling of fear and pity.
It ends in the death of the main characters.
Julius Caesar and Othello are examples of
tragedies.
Shakespeare and the canon
Chapter 5. Reading Julius Caesar
Qualities of tragedy:
1- It is a story of a person of high rank. Caesar and
Othello are generals in the army.
2- The protagonist has a tragic flaw in his
character. This is called HAMARTIA. Caesar’s
defect is excess of pride (called HUBRIS in Greek)
and Othello’s defect is lack of judgment.
3- The hero suffers for his defect (called
PERIPETEIA in Greek) or change of fortune.
Caesar is killed and Othello kills himself
4- This may be followed by acknowledging one’s
defect AGNORISIS
Shakespeare and the canon
Chapter 5. Reading Julius Caesar
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Julius Caesar was relevant during Shakespeare’s
time.
It refers to the superstitions and to astrology
(Soothsayer P54) JC
The Greek writer’s book The Republic was widely
read. It describes democracy as the right form of
government ( Cassius speech to Brutus p 59)
English people wanted freedom and they considered
Queen Elizabeth as autocratic as Ceasar. Childless
like him.
The play was also considered in many parts of
Europe as a warning to communism and
dictatorships in general. It is relevant to different
historical ages.
Social and literary context
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Julius Caesar is the product of time and culture
In 1599, the year Julius Caesar was first performed,
the Earl of Essex attempted a coup d’etat in Ireland,
but failed.
• In 1601, he attempted another coup, but was arrested
and executed.
• A. C. Bradley said, there is no social historian who
could give us a picture of his society the way
Shakespeare does.
• “His plays are a depiction of life and not an
illustration of a theory of life. He really had a profound
and searching insight into the universal instincts of
human nature.” eg: lust for power in Julius Caesar
(Chekra Allani. Shakespeare’s English P:3)
Social and literary context
• Between 1599-1601, Shakespeare was working on two
tragedies and one history play dealing with the nature
of rule and the political and private lives of rulers.
• Shakespeare looked at many sources, but was
selective about what to adapt from Plutarch’s paired
accounts of lives of famous Greeks and Romans.
(Plutarch is a Greek scholar and writer)
• Caesar Revenge and Caesar Interfectus were
performed (p149)
Sources for Julius Caesar
•
Shakespeare’s productions on the play lacked the pomposity
and effects of contemporary performances. They were produced
on the bare stage of the Globe Theater. The costumes
reminiscent of Roman dress is only the toga or the cloak.
• Technology plays a major role in producing modern
performances of JC. Eg: Julius Caesar’s face may be produced
on a large screen to show his power while minor characters are
minimized. (p:196 SC)
The Renaissance view of the Roman world
• The Renaissance reached England later than
other European countries due to the breach
with the Catholic Church in 1530s.
• Grammar schools in England taught Latin
and Greek and works by Latin authors.
• Machiavelli in the Prince: Occasional need
for a would-be strong ruler to use bad means
to achieve a good end permeated popular
awareness.
The Renaissance view of the Roman world
• References in oral culture made even the illiterate
groundling familiar with names like Caesar, Brutus,
Pompey, Alexander the Great, Helen of Troy,
Hercules…
• The elite culture is democratized at the public
playhouse and stories of emperors and kings are
accessible to any one who could pay the penny worth
entrance fees.
• The play is full of omens, including
lightning and thunder, the walking dead,
and lions stalking through the city (I.iii).
Additionally, the Soothsayer warns Caesar
to beware the Ides of March (I.ii);
Calpurnia dreams that she sees Caesar’s
statue running with blood (II.ii); and
Caesar’s priests sacrifice animals to the
gods only to find that the animals lack
hearts (II.ii)—
• all foreshadow Caesar’s impending
murder and the resulting chaos in Rome.
Caesar’s ghost visits Brutus prior to the
battle (IV.ii), and birds of prey circle over
the battlefield in sight of Cassius (V.i); both
incidents foreshadow Caesar’s revenge
and the victory of Antony and Octavius.
• The story of JC assassination was of interest to the
public because books with implicit messages of
political theories gave them the incentive to
overthrow rulers who weaken the state or harm their
subjects.
• - In 16th C there was an awareness of republicanism
through Plato’s Republic and other publications
where a state should be governed, not through a
monarch, but a body of representatives in the
senate. (p152 SC and p59 Julius Caesar)
• - - in JC Shakespeare stresses the problem faced
by a morally sound man who attempts a coup d’etat
to overthrow a despot.
Roman virtue and Renaissance virtue
• The senate is the governing body that has the
jurisdiction to sanction tyrannical dictatorship.
- Brutus in JC embodies the republican political
virtues of this interestedness as Mark Antony said of
him “page 153 SC. P: 147 Julius Caesar
- Roman virtues and philosophic were admired by
Christians.
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(p:154) Roman philosophies
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The Roman philosophies of stoicism and Epicureanism
were familiar even to the groundlings of theater goers but to a
simplified manner:
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Epicureans highest good is the pursuit of happiness .
•
Stoics are indifferent to pleasure or to pain .
Even the laity realize that Brutus was stoic. (P:57 Julius Caesar)
Real stoic does not commit suicide but endures defeat
humiliation and even execution but a true Roman would not die
dishonored but rather kills himself. (p:145 Julius Caesar)
•
Machiavelli in the Prince suggests that a ruler does
not have to be morally virtuous to maintain control
and protect his subjects.
• This causes a moral ambiguity in the dramatic
portrayal of heroes in renaissance drama. Being a
great man is not necessarily being a good man.
A two part tragedy ?
•
Should the play be called JC or the tragedy of Brutus ?
• JC name has more office-box appeal and resonance to theater
goers who expect assassinations battles rhetorical speeches…
• JC title is acceptable as it is not just his death but his revenge
foretold by his ghost.
• JC assassination was followed by the conspirators eventual
deaths.
• This is the climax of the play.
• Shakespeare is influenced by Senecan tragedy with a bloody
accounts of violent crimes, popular in 16 C England. He wrote
JC, Hamlet and Titus Adronicus, typical senecan style revenge
tragedies.
(p: 156-9) Laying the plot
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Prose and blank verse were used by Shakespeare for different
purposes.
Costumes in performances did not abide by historical realism.
Social hierarchy was made apparent in Rome by the distinct
dress of every layer of the society “quote p52 JC”.
Pronouns in Shakespeare’s language:
“The most striking feature that makes eModE different from
Present English is the use of pronouns… ‘you’ is used to
indicate formality and distance, just like its equivalent in Arabic
‘antom’, in French ‘vous’, in Spanish ‘uds’, in German ‘sie’ and
in Russian ‘oПи’… ‘Thou’ indicates informality and intimacy as
its equivalent in Arabic ‘anta’, in French tu in Spanish te, in
German du..” Chekra Allani 2005.
(p: 156-9) Laying the plot
• Commoners roam the streets of Rome from the
onset of the play to rejoice in Caesar’s triumph (P:
52-3 Julius Caesar) Comment with regard to Brutus
soliloquy on p:71-2)
• Tribunes intended to suppress any signs of support
of a monarchy cherished by Caesar. Their motivation
may be either enhanced by republican idealism or by
jealousy from the power Caesar managed to acquire.
• Oppositional voice was silenced (put to death)
(p: 159/62 SC) Private and Public Worlds
• Cover Act 1 Sc 2 (P: 51-64 Julius Caesar) Comment on:
• The grand entry of Caesar’s entourage and the laity’s response
along with the tribunes and conspirators’ response to it.
• Cassius soliloquy end of act 1. Sc 2 p: 64)
Famous quotes from JC
•
"Friends, Romans, countrymen, lend me your ears; I come to bury
Caesar, not to praise him". Quote (Act III, Scene II).
"But, for my own part, it was Greek to me". - Julius Caesar Quote (Act
I, Scene II).
"A dish fit for the gods". Quote (Act II, Scene I).
"Cry "Havoc," and let slip the dogs of war". Julius Caesar Quote (Act
III, Sc. I).
"Et tu, Brute!" Quote (Act III, Scene I).
"Men at some time are masters of their fates: The fault, dear Brutus, is
not in our stars, but in ourselves, that we are underlings". - (Quote Act
I, Scene II).
"Not that I loved Caesar less, but that I loved Rome more". Quote (Act
III, Scene II).
Famous quotes from JC
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"Beware the ides of March". - (Quote Act I, Scene II).
"This was the noblest Roman of them all". - (Quote Act V, Sc. V).
"When that the poor have cried, Caesar hath wept: Ambition should be
made of sterner stuff". - (Quote Act III, Sc. II).
"Yond Cassius has a lean and hungry look; He thinks too much: such
men are dangerous" Julius Quote (Act I, Scene II).
"For Brutus is an honourable man; So are they all, all honourable
men". - (Quote Act III, Sc. II).
"As he was valiant, I honour him; but, as he was ambitious, I slew him"
. Quote (Act III, Sc. II).
JC
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This play is a story primarily about a conspiracy
to murder Ceasar. The conspirators' plan has
many flaws and they must struggle with the
aftermath of what they have done. Brutus the
"noblest roman" is the leader and the prime
driver is Cassius who is both dangerous,
ambitious, and manipulative, and turns Brutus
away from Ceasar, for, who "Tis not that I don't
like him, but for the general" kills Ceasar in the
name of Rome.
JC
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Brutus must fight the ghost of Ceasar for the rest
of the play and Shakespeare makes it clear that
although Brutus's action may have been justified
and Ceasar may have become a tyrant, he is still
the tragic hero of the play. Shakespeare also
entertains humanic proportions for all
characters, in this endeavour to not merely label
characters bad guys-good guys but rather fully
human and fragile to manipulation and flattery.
JC
•
He also uses contrasts between characters and
relationships such as Cassius and Brutus;
Octavius and Antony; Portia and Brutus;
Calpurnia and Ceasar also paint a picture of
severe differences, strengths, and weaknesses.
Cassius is always having to submit to Brutus's
demands and leadership shortfalls, and Ceasar's
complete self-absorption when dealing with
Calpurnia.
• The play is extremely thick with magnificent
speeches and supernaturalism. It entertains an
insight into the human manipulative world that
Shakespeare wrote most of his plays in.
Julius Caesar
 Physically weak: Caesar has several infirmities
 A tyrant: Caesar has had Marullus and Flavius arrested
 Superstitious: Caesar believes in portents and dreams
 Indecisive: Caesar cannot make up his mind whether or not to go
to the senate
 Inflexible: Caesar thinks himself perfect and decisive
Protagonist: Julius Caesar is an arrogant soldier and ambitious politician,
who believes that he is infallible. After his great victory over the sons of
Pompey, he believes that he is worthy of more power than just being the
head of Rome; he wants to be crowned the leader of the entire Roman
Empire.
Brutus
* Of Noble Heritage Brutus is a Roman nobleman, as was his father
 Sincere: Brutus truly believes that his role in the assassination is for
the good of Rome
 Honest: He refuses to take bribes
 Naive: He believes in the essential goodness of those around him
 Philosophical: His philosophies guide his actions and decisions.
Cassius
•· Envious: Cassius has contempt for Caesar and envies Caesar's
position · Fearful: Cassius is afraid that Caesar has ambitions to be
king. He fears what might become of Rome in such an instance.
•· Politically Astute: He advises Brutus to assassinate Antony
along with Caesar. Understanding what can happen, he advises
Brutus not to allow Antony to speak at Caesar's funeral.
•· Corrupt: Prior to the battle at Philippi, he is accused by Brutus of
taking bribes
•· Military Strategist: His battle plan for Philippi is well thought out
and based on sound military principles
Marc Antony
Loyal to Caesar: Antony loved and admired Caesar
•· Clever: Antony pretends to befriend the conspirators and asks
that he be allowed to speak at Caesar's funeral
•A skilled orator: Antony's speech at Caesar's funeral sways the
crowd
Hard: Antony's role in condemning men to death shows he can be
as cold hearted as he is passionate
•· A skilled military leader: Antony has an equal voice in planning
the war against the legions of Brutus and Cassius
THEMES
Major Theme
The major theme of Julius Caesar is that misused power is a corruptive
force. This is seen in the fact that Caesar is a dictator suspected of
being tyrannous, that Cassius is so power hungry that he assassinates
Caesar, hoping to become more powerful himself, and that Antony,
Octavius, and Lepidus become a dictatorial and tyrannical Triumvirate,
worse than Caesar ever hinted at being.
Minor Themes
• goodness of loyalty, honor, and
friendship;
• the evil of pride, conspiracy, and
anarchy;
• the logic of political order;
• and the viability of republicanism as a
form of government.
MOOD
•The mood of Julius Caesar is one of impending doom and catastrophe.
•From the beginning, danger lurks in every corner. Friends can no longer
be trusted, as they turn to manipulation and conspiracy and plot their next
moves.
•Images of violence, blood, and death dominate the visual texture of the
play.
•The weighty political intrigue is always present throughout the drama.
•The latter half of the play even assumes an eerie mood with the
appearance of Caesar's ghost, returning to seek revenge.
•The closing phase of the play is dominated by the sinister image of the
sword.
Antagonists
• Caesar's antagonists are Brutus, Cassius, and the other
conspirators who do not want him to become the head of
the Roman Empire.
• They plot to overthrow Caesar and assassinate him
outside the Capitol; he is an easy target because of his
fatal flaw - his extreme "hubris" or pride.
• Many times, Caesar is nearly saved by omens and
warnings, but he disregards them, thinking himself
infallible.
• He is so proud that he is easily flattered, leading him to
think less strategically and placing himself in grave
danger.
TMA04
Question:
• Shakespeare's plays depict the universal struggle for
power. In an essay of 1500 words, discuss the
statement above with reference to Henry V, and Julius
Caesar, and refer to issues in the performance of this
theme in the two plays.
• exact roles of the protagonists of these plays
TMA04
• Exact roles of the protagonists of these plays:
• Henry V plays the role of the Christian king, to satisfy his
ambitious endeavors to invade France
• His achievements come at a huge personal cost and are
very short-lived
• Julius Caesar vies for absolute power over Rome, as a
King among Romans who are not ready for monarchy.
• Hence the coup d’etat to overthrow him
TMA04
• A character analysis of the two protagonists with respect
to their lust for power
• The gap between their appearance and their reality:
• Henry V tries to wear the mask of a religious king with
frequent references to God’s arm..
• Julius Caesar was actually physically weak and yet he
put on the allure of the most powerful man of Rome.
TMA04
• Their procession to gain power was through the
image they painted of themselves to be readily
accepted by their entourage and by themselves
in the first place, through the rhetoric of speech
and dissembling (refusal of JC to be crowned
thrice and the attempt to justify all HV’s actions)
• The tragic flaw of JC is his hubris, which is the
excess of pride (Quote p: 94 JC)
TMA04
• Although apparently more well planned, King HV’s power
was still ephemeral, since his successors would not be
kings of France, and war loomed on the horizon again
for his son HenryVI
• Julius Caesar’s power was also transient mainly due to
his hubris which is the excess of pride