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Around his gentle character, praised at last even by Antonius, Shakespeare weaves the recurrent motifs of honor and honesty, freedom and fortune, ambition and pride.Honor as it interacts with ambition is the theme of Brutus’s speech to the crowd in the forum: “As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him, but, as he was ambitious, I slew him.” After the deed, Brutus comments, “Ambition’s debt is paid.” One of the great, dramatically successful ironies of the play is that Antonius’s forum speech juxtaposes the same two themes: “Yet Brutus says he was ambitious/ And Brutus is an honourable man.” By the time Antonius is finished, the term “honour” has been twisted by his accelerating sarcasm until it has become a curse, moving the fickle crowd to call for death for the conspirators.
An example is Caesar’s revealing hesitation about going to the Senate because of Calpurnia’s dream, and the way he is swayed by Decius into going after all.
This scene shows the weakness of Caesar’s character in a way not found in a literal reading of Plutarch.
Antonius, in the end, defeats Brutus—as Bolingbroke defeats Richard II—because he can put on a more compelling act.
Shakespeare displays in his Roman tragedy several types of politicians: the Cesarian, Marcus Antony, an insidious demagogue who is able to deceive murdererous conspirators after Caesar’s death and seduce the Roman crowd presented in the tragedy as an impersonal mob, which easily changes its affections, preferring someone who promises material benefits (which is skillfully done by Anthony); the Republican and Patrician, Cassius, the initiator of the conspiracy against Caesar, who hates him because of vanity and outraged pride, convinced that Caesar is no more worthy than any of his closest associates, to rule Rome; Brutus is an idealist politician, a person of firm convictions and the highest moral principles, he believes that others have such.
Although prose is used in the play by comic and less important characters or in purely informative speeches or documents, the general mode of expression is Shakespeare’s characteristic blank verse, which consists of five stressed syllables, generally unrhymed.
Essay Julius Caesar Shakespeare Answers To Accounting Homework
The iambic pentameter, a rhythm natural to English speech, has the effect of making more memorable lines such as Flavius’s comment about the commoners, “They vanish tongue-tied in their guiltiness,” or Brutus’s observation, “Men at some time are masters of their fates.” As in most of his tragedies, Shakespeare follows a five-part dramatic structure, consisting of the exposition (to act 1, scene 2), complication (act 1, scene 2, to act 2, scene 4), climax (act 3, scene 1), consequence (act 3, scene 1, to act 5, scene 2), and denouement (act 5, scenes 3 to 5).They, too, faced a dramatic challenge very unlike that of later writers, who came to be judged by their sheer inventiveness.Just as the Greek audience came to the play with full knowledge of the particular myth involved in the tragedy to be presented, the Elizabethan audience knew the particulars of events such as the assassination of Julius Caesar.Shakespeare, like his classical predecessors, had to work his dramatic art within the restrictions of known history.He accomplished this by writing “between the lines” of Plutarch, offering insights into the mind of the characters that Plutarch does not mention and which become, on the stage, dramatic motivations.And he decides to participate in the murder of Caesar, to whom, unlike Cassius, he was a close friend, in whose loyalty Caesar never had any reason to doubt, because he is sincerely convinced that it will be better for the state, for Rome.To learn how loyalty is portrayed in the tragedy, read through our “ William Shakespeare is a prolific person in the field of literature and drama, who is well-known for his works with a realistic plot.Though the title of the tragedy embodies the name of the famous historical figure, the names of the other three central characters may suit it at the same time.The point is that the plot develops around the relations of Caesar with Brutus, Antony, and Cassius, who similarly take a prominent position in the play.The pattern is also evident when Cinna mistakes Cassius for Metellus Cimber, foreshadowing the mistaken identity scene that ends in his own death; when Cassius, on two occasions, gives in to Brutus’s refusal to do away with Antonius; and, most effectively of all, in the two forum speeches when Antonius addresses two audiences, the one in the theater (who know his true intentions), and the other the Roman crowd whose ironic whimsicality is marked by its startling shift of sentiment.The effect of the irony is to suggest the close connection between functional politics and the art of acting.