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Sarah Campbell Smith

Professor Kirk

Composition 1

11 November 2022

Catapulting to Power

“Friends, Romans, countrymen, lend me your ears” (Shakespeare 3.2.1). Mark Antony, a

loyal friend, and fellow soldier issues this cry, usurping the attention of the crowds surrounding

the funeral proceedings of the infamous Roman dictator, Julius Caesar. However, his words did

not die with Caesar. They spur readers to uncover the history behind William Shakespeare’s

Julius Caesar, where he recounts the historical life and sometimes fictional legacy of Caesar, a

renowned Roman statesman. One of several plays written by Shakespeare based on historical

events, Julius Caesar dictates the life of the Roman politician and general who played a crucial

role in the events that lead to the downfall of the Roman Empire. Shakespeare morphs this

downfall into a tragedy of one of his most popular stories. The play illustrates the conflict

between personal values and the social and political constructs of Caesar’s time.

A combination of pride, ambition, and self-belief, along with deft political skill and

military competence, drive Caesar toward a position of power. An “energetic and wise

politician,” many proclaim Caesar a god, and he “accomplished many useful things for the city

and people of Rome” (Leithart 76). However, this assertion often “offended many who wanted to

restore the old Republican system” (Leithart 76). Caesar’s political opponents believe he desires

kingship, and that the title would disgrace the Roman empire. At the feast of Lupercalia in

February of 44 B.C., “Mark Antony offered a crown to Caesar three times, which he refused

each time” (Leithart 76). Shortly after, Cassius, a political foe of Caesar, approaches Brutus,
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Caesar’s friend, about an assassination plot, which they carried out in March of the same year.

The assassination leads to a civil war between the conspirators, and at the Battle of Philippi, both

Cassius and Brutus commit suicide. Shakespeare’s play “begins with the assassination

conspiracy, portrays its aftermath, and ends with the Battle of Philippi” (Leithart 76). While the

main character reveals himself through very few spoken lines in the play, the account of Julius

Caesar’s rise and fall depicts how he stays motivated by power and politics, views life

macroscopically, and dies under the umbrella of superstition, with a nod toward historical

accuracy.

Caesar’s ego, ambition, desire for power, and wish to reign as God, stand as the basis of

many of the critical and consequential decisions made throughout the play. Motivations prompt

the action of questionable decisions and provide explanations for the behaviors of key characters.

In contrast to Mark Antony’s devotion to Caesar, many senators believe Caesar's power grows

exponentially. They realize the looming threat to themselves and question his right to hold that

power. “Pompous, overly sure of himself, and a man who believes in his own press releases”

(Leithart 81), Caesar miscalculates his confidence in his surroundings. Cassius’s prominent

jealousy towards Caesar’s power becomes evident, and he does not refrain from expressing his

opinion on the issue to others. Cassius protests, “Think of this life, but, for my single self, I had

as lief not be as live to be in awe of such a thing as I myself. I was born as free as Caesar. So

were you” (Shakespeare 1.2.96-99). Cassius also complains, “Ye gods, it doth amaze me a man

of such a feeble temper should so get the start of the majestic world and bear the palm alone”

(Shakespeare 1.2.130-133). Jealous of Ceasar’s power, Cassius questions the people as to why

Caesar’s wish to stand as a god should become reality.

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Politics continually throw Rome into chaos as its leaders descend into conflict in

Shakespeare’s Julius Caesar. Does this sound familiar? While the Rome depicted in the play and

America’s friable democracy seem hardly comparable, a battle rages throughout the play

between groups of two political ideologies, heavily influenced by Caesar. Mark Antony and

Octavius serve as the stalwarts of the Monarch group, while Brutus, Cassius, and Casca assume

leadership of the Republican group. Returning to Rome after the defeat of his rival Pompey and

his sons in the battle of Munda, Caesar proclaims himself dictator and absolute ruler of Rome

and its territories. Many Romans celebrate Caesar’s victory and desire to crown him their king,

which he refuses thrice. However, Cassius believes that Caesar's actions threaten to end the

Republic and wishes for Caesar’s downfall, which leads him to engage in the vicious art of

political manipulation that reveals politics at its best. Influencing most of the Senate members,

including Brutus, that monarchy would prevail as the sole outcome of a kingship, Cassius argues

that democracy would become simply a dream.

While many view him as an egotist who craves individual power and self-serving glory

like Alexander the Great and Napoleon, Caesar also wishes to collectively improve the world of

his fellow countrymen. During Caesar’s day, Rome had a ruling rich class and a poor lower class.

Politically, he becomes a reformer, changing debt laws, granting land to veterans, establishing a

police force, and creating the Julian Calendar. He attempts to spread wealth and power to all

Romans. This often provokes his fellow Patricians and endears him to the masses of Plebeians.

Without blinders from his glory hindering him, Caesar’s macroscopic rule ultimately grows

Rome from a republic to a mighty empire.

Throughout the play, Shakespeare employs superstition in a variety of places, such as to

foreshadow Caesar’s death, impact Brutus’ actions on the battlefield, and emphasize the Roman
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connection between illusions and fate. Superstitious beliefs in Rome at that time allowed citizens

to believe that they held the power to witness the future. Caesar’s future could not elude death.

These omens depict a sense of mystery and menace that hang over Caesar, leaving audiences in

shock as he ignores these superstitions. Consistently, the characters in the play respond, warning

Caesar of his future and watching him dismiss them casually as well. In Act One, the soothsayer

approaches Caesar, pleading, “Beware the Ides of March” (Shakespeare 1.2.20). Caesar ignores

the warning by persuading Brutus, “He is a dreamer. Let us leave him. Pass” (Shakespeare

1.2.25)! However, on the Ides of March of 44 BC, the members of the Senate meet at the Senate

House, where the conspirators attack and stab Caesar twenty-three times. Dramatizing his play,

Shakespeare carefully intertwines superstition and omens to create suspense throughout the story.

Interestingly, while Caesar dismisses the soothsayer’s warning of his death, he shows

strong credence in the superstition of Lupercal. At the beginning of the play, “the first words out

of Caesar’s mouth are a request that Antony touch Calpurnia, Caesar’s wife, as he runs the race

of Lupercal. This though, he hopes, will make barren Calpurnia fertile (1.2.6-9)” (Leithart 81).

Shakespeare draws a contrast between both examples of superstition.

Caesar calls out.

Casca commands silence.
Caesar calls for Antony and asks him to touch Calpurnia.
Soothsayer calls out.
Casca commands silence.
Caesar calls for the soothsayer and then ignores his warning. (Leithart 81)

With this parallel structure, Shakespeare eludes that “Caesar is superstitious, but lacks

discernment to know what superstitions to trust” (Leithart 81). While he fully believes that

Lupercal could grant his wife fertility, Caesar heavily doubts the soothsayer’s warning, which

could have spared his life.

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In addition, while Shakespeare’s play and recorded history of Caesar’s life remain

parallel in their historical background, the account of Caesar’s rise and fall differs considerably

from Shakespeare’s storybook drama. For example, when exploring the role of Caesar’s

assassins, differences appear between recorded history and Shakespeare’s literature. In the play,

Brutus emerges as the primary conspirator and consecrates himself in history as the murderer of

Caesar with the famous quote, “Not that I loved Caesar less, but that I loved Rome more”

(Shakespeare 3.2.20-21). Describing Brutus as Caesar’s close friend, Phil Edwards, a senior

researcher for Vox Media explains, “We tend to imagine Brutus in the same league as Judas”

(Edwards), a heartless traitor who betrays his best friend and deserves no mercy. However, the

honor and fame given to Brutus by Shakespeare do not withstand when compared to historical

records.

In reference to another famous line in Shakespeare’s fictional production, research

reveals the historical accuracy behind the saying “Et tu, Brute?” (Shakespeare 3.1.77) This

phrase exists as another example of a famous literary expression now coined as historical fact.

While no one writes with any certainty, “the Roman historian Suetonius, who created

biographies of twelve early Roman rulers, reveals reports of Caesar uttering, “And you, child”

(Walthall 1)? Without any proof of this utterance, the quote “Et Tu Brute?” (Shakespeare 3.1.77)

remains only a “Renaissance invention” (Getlen 1) and a product of Shakespeare’s creative

interpretation. Although the general storyline remains consistent, when comparing the details,

Shakespeare’s work of Caesar’s life often contradicts that of historical records.

In essence, Shakespeare wrote his play, Julius Caesar, as a historical piece, and despite

some main variations, he masterfully achieves a recreation of the tension from Caesar's era. He

depicts Caesar’s desire for power, influence in politics, view of life, and sense of mystery
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through superstition, in his historical account of Caesar’s life. Shakespeare uses the story of

Caesar’s assassination to illustrate the complicated relationship between the political leaders and

the political decisions made by them. After Mark Antony issues his famous phrase requesting the

attention of his fellow Romans, he continues, “The evil that men do lives after them, the good is

oft interred with their bones” (Shakespeare 3.2.73-75). As Decius lures Caesar to the Senate

meeting, his closest friend plots his end and secures his fate in history. Readers bookmark why

Brutus, Cassius, Decimus, and the other conspirators endeavor to slay the power-hungry dictator.

Even though his significant influences not only transform Rome but arguably the rest of the

world, Caesar catapults himself to power, while his honor and virtue sink with him into the

ground.
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Works Cited

Edwards, Phil. “6 Myths about the Ides of March and Killing Caesar.” Vox Media. 15 March

2015, https://www.vox.com/2015/3/15/8214921/ides-of-march-caesar-assassination.

Accessed November 6, 2022.

Getlen, Larry. “The Real Story Behind the Assassination of Julius Caesar.” New York Post, New

York Post. March 1, 2015. https://nypost.com/2015/03/01/the-real-story-behind-

the-assassination-of-julius-caesar/. Accessed November 5, 2022.

Isherwood, C. A Timeless Thirst for Power. New York Times. October 10, 2013. https://www.ny

times.com/2013/10/09/theater/the-political-lessons-of-julius-caesar.html. Accessed

November 5, 2022.

Leithart, P. Brightest Invention Of Heaven: A Christian Guide to Six Shakespeare Plays. Cannon

Press, 1996.

National Geographic Society. Julius Caesar. Sarah Appleton, National Geographic Society,

Updated October 5, 2022. https://education.nationalgeographic.org/resource/julius-caesar.

Accessed November 6, 2022.

Shakespeare, William. Shakespeare’s Plays, Sonnets, and Poems. The Folger Shakespeare. Ed.

Barbara Mowat, Paul Werstine, Michael Poston, and Rebecca Niles. Folger Shakespeare

Library, November 7, 2022. https://shakespeare.folger.edu. Accessed November 6, 2022.

SparkNotes Editors. No Fear Shakespeare Much Ado About Nothing: The Play Plus A

Translation Anyone Can Understand. SparkNotes LLC, 2004.

Walthall, Bill. The Bill Shakespeare Project. “Julius Caesar: History vs. Drama.” The Bill /

Shakespeare Project. November 26, 2014. https://thebillshakespeareproject.com/

2014/11/julius-caesar-History-vs-drama/. Accessed November 6, 2022.