2. 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.

3. 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

4. Shakespeare and the canon Chapter 5. Reading Julius Caesar 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.

5. Social and literary context 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)

6. 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)

7. 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)

8. 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.

9. 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.

10. 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)—

11. 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.

12. 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 16 th 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.

13. 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. -

14. (p:154) Roman philosophies The Roman philosophies of stoicism and Epicureanism were familiar even to the groundlings of theater goers but to a simplified manner: 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)

15. 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.

16. 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.

17. (p: 156-9) Laying the plot -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.

18. (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)

19. (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)

20. "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

21. "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). Famous quotes from JC

22. 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

23. 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

24. 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. JC

25. 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.

26. 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.

27. 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

28. 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

29. 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.

30. 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.

31. 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.

32. 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.