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Julius Caesar

Study Guide

I. Terms:Elizabethan English blank verseiambic pentameter rhymed coupletsoliloquymonologueasideflourishstage directionsfoiltragedycomedytragic herotragic flawtriumviratehubrisrhetoricanachronisminternal conflictexternal conflict protagonistmotiveall lit. terms butespecially,apostrophe personificationmotif foreshadowingironysynecdochemetonymy punmetaphor simileanecdoteallusioncharacterizationsymbolII. Themes:

Heroes vs. Villains:

Both Caesar and Brutus are perceived to be heroes and villains in Julius Caesar. At the opening of the play, Caesar is hailed for hisconquests and is admired for his apparent humility upon refusing the crown. However, once murdered, Caesar is painted (by Brutus etal) as a power hungry leader with the intentions of enslaving all of Rome. Brutus' speech, which follows Caesar's death, successfullymanipulates the plebeian perspective. By the end of his speech, the crowd is hailing Brutus for killing Caesar, whom they now perceive as a great villain. But, the crowd is easily swayed once again when Antony speaks. Following Brutus' remarks, Antony givesCaesar's eulogy, manipulating the crowd with stories of Caesar's kindness, and sharing the details of Caesar's will, which leavesmoney to every Roman. At the end of Antony's speech, the crowd is once again supportive of Caesar, mourns his death, and seeks tokill Brutus, Cassius, and the other murderers. The swaying opinions of the plebeians, and the great differences in opinion that the play presents leave the audience to determine who, if anyone, is the hero of the play, and who, if anyone, is the villain.

Omens/ Superstitions:

The seriousness with which Romans looked to omens is evident throughout Julius Caesar; however ominous warnings and negativeomens are often overlooked or misinterpreted. For example, Caesar ignores the soothsayer's warning to "beware the ides of March,"ignores Calpurnia's detailed dream of his death, and ignores the negative omen of the sacrificial animal who has no heart. After ignoring these omens, Caesar dies.In addition, after the festival of Lupercalia, Casca sees many strange omens, such as a man with a burning hand, a lion roaming thestreets, and an owl screeching during the day time. Cicero, with whom Casca confers regarding these matters, explains that peoplewith interpret omens as they see fit, inventing their own explanations. True to form, Casca interprets these strange omens as warningsof Caesar's wish to rule all of Rome with an iron hand, and to destroy the Republic.Other omens that play important roles in the play include the appearance of Caesar's ghost and when eagles abandon Cassius' andBrutus' camp and are replaced by ravens.

Idealism:

Brutus wishes for an ideal world. He is happily married, lives in a beautiful home, and is successful according to all measures of Roman living. However, Brutus wishes for perfection in his life, and although he loves Caesar, Brutus fears Caesar is too power hungry, and might possibly destroy the Republic. Cassius understands Brutus' idealism and takes advantage of it in order tomanipulate Brutus into joining the conspiracy against Caesar. At heart, it is Brutus' idealism is his tragic flaw. Antony recognizes thisfact when addressing Brutus' dead body at the conclusion of the play, saying "This was the noblest Roman of them all."

Identities, both Public and Private:

In Julius Caesar, the audience is able to see both the private and public sides of Caesar and Brutus. Caesar is a powerful confidentman who leads great armies and effectively rules the Roman Empire, yet he is not without weakness. He is highly superstitious,suffers from epilepsy, and ultimately proves to be human when murdered by his closest friends. Similarly, Brutus is strong and refusesto show weakness when in public, whether it be speaking to the plebeians or leading an army into battle. However, we see through hisintimate conversations with his wife Portia and with Cassius, that Brutus is often unsure and greatly pained. Specifically, after fleeingRome, Brutus learns that his wife has committed suicide, and is heartbroken when discussing it with Cassius. However, as soon assoldiers enter his tent, he pretends to not know of her death, and when told of it, does not react with great emotion.

Ambition and Conflict:

Caesar is a great man, and an ambitious man. His ambition is what worries Brutus, and ultimately leads to Brutus joining theconspiracy to murder Caesar. Cassius is also a very ambitious man, and because he is so jealous of Caesar's power, wishes to kill himto gain more power for himself. Ultimately, the ambition of these two men leads to their downfalls and to virtual anarchy in the streetsof Rome. Great ambition leads to great conflict.

Power of Speech (Rhetoric):

Speech plays a very important role in the plot developments of

Julius Caesar

. The plebeians are easily swayed into greatlyopposing viewpoints through Brutus' and Antony's speeches. Antony's great manipulation of the crowd causes anarchy in the streets of Rome and creates the support for a mission to avenge Caesar's death.In addition, Brutus is hesitant at first to join the conspiracy against Caesar, but after speaking with the highly manipulative Cassius,Brutus is more convinced. Then, after receiving an anonymous letter (actually written by Cassius) that decries the rule of Caesar,Brutus is convinced he must take action and agrees to join Cassius' murderous plot.

II. Figures of Speech

Julius Caesar

ranks among Shakespeare's finest plays, in part because of its highly effective imagery. Among the many and variedfigures of speech in the play are the following:Anaphora With Metaphor, Alliteration, and Hyperbole“You blocks, you stones, you worse than senseless things!” (1. 1. 27)In a metaphor, Marullus compares commoners to inanimate objects. The line also contains alliteration (stones, senseless) andhyperbole and paradox (the spectators have less sense than senseless things).Anaphora:repetition of

you

Metaphor : comparison of spectators to inanimate objectsAlliteration:

stones, senseless

Hyperbole: exaggeration saying that the spectators have less sense than senseless thingsSimile With Hyperbole and Alliteration“Why, man, he doth bestride the narrow worldLike a Colossus, and we petty menWalk under his huge legs and peep aboutTo find ourselves dishonourable graves.” (1. 2. 143-146)In a simile, Cassius likens Caesar to a colossus (giant); in a hyperbole, he exaggerates Caesar’s size. The line also contains alliteration(we and walk; his and huge).Simile: Likening Caesar to a colossus (giant)Hyperbole: exaggeration of Caesar's sizeAlliteration:

we, walk; his, huge

Metaphors“I know he would not be a wolf,But that he sees the Romans are but sheep:He were no lion, were not Romans hinds.” (1. 3. 111-113)Casca, addressing Cassius and Brutus, compares Caesar to a wolf and a lion and the Roman citizens to sheep and hinds.Metaphor “Since Cassius first did whet me against Caesar,I have not slept.” (2. 1. 66-67)Brutus compares himself to a knife that Cassius has sharpened (did whet).Apostrophe, Personification, Alliteration, Hyperbole“O conspiracy,Shamest thou to show thy dangerous brow by night,When evils are most free? O, then by dayWhere wilt thou find a cavern dark enoughTo 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 enoughTo hide thee from prevention.” (2. 1. 86-94)Brutus uses apostrophe and personification, addressing conspiracy as if it were a person, as well as alliteration (thou and thy; whereand wilt; mask and monstrous). In an allusion, he refers to Erebus, the Greek god who personified darkness. In a hyperbole, he saysthat not even the darkness would be dim enough to hide the conspiracy unless appropriate measures are taken to conceal it.Apostrophe and Personification:Addressing conspiracy as if it were a personAlliteration: thou, thy; where, wilt; mask, monstrousAllusion:Erebus, a reference to the Greek god who personified darkness; also, the dark passage through which the souls of the dead pass from earth to HadesHyperbole: exaggeration saying that not even the darkest of places, Erebus, would not be dim enough to hide the conspiracy unlessappropriate measures are taken to conceal itIrony in the Funeral OrationMark Antony's funeral oration in Act III, Scene II–beginning with "Friends, Romans, countrymen, lend me your ears–isironicthroughout. Though Antony says that he comes

to bury Caesar, not to praise him

, he praises Caesar for swelling the treasuries of Rome, sympathizing with the poor, and three times refusing the crown Antony offered him. At the same time, Antony praises Brutus– one of Caesar's assassins–as

an honourable man

even though the tenor of his speech implies otherwise. Near the end of the speech,Antony says, "O judgment! thou art fled to brutish beasts, / And men have lost their reason." The word

brutish

occurs after Antony hasmentioned Brutus by name nine times. It seems

brutish

is a not-so-oblique reference to Brutus.Sample Explication Short Essay:“You blocks, you stones, you worse than senseless things!” (1. 1. 27)In this alliterative metaphor, Marullus compares commoners to inanimate objects. This hyperbole highlights the tribune’s frustrationwith the fickle nature of mob psychology. These men, who the tribunes feel should be at work, are celebrating the success of Caesar