Thursday, June 11, 2020

Julius Caesar (play) - Reading Shakespeare Project



Julius Caesar (play)




The Tragedy of Julius Caesar (First Folio title: The Tragedie of Ivlivs Cæsar) is a history play and tragedy by William Shakespeare first performed in 1599. It is one of several plays written by Shakespeare based on true events from Roman history, such as Coriolanus and Antony and Cleopatra.
Set in Rome in 44 BC, the play depicts the moral dilemma of Brutus as he joins a conspiracy led by Cassius to murder Julius Caesar to prevent him from becoming dictator of Rome. Following Caesar's death, Rome is thrust into a period of civil war, and the republic the conspirators sought to preserve is lost forever.
Although the play is named Julius Caesar, Brutus speaks more than four times as many lines as the title character; and the central psychological drama of the play focuses on Brutus' struggle between the conflicting demands of honour, patriotism, and friendship.
Characters
Triumvirs after Caesar's death
Conspirators against Caesar
Tribunes
Roman Senate Senators
Citizens
Loyal to Brutus and Cassius
Other

Synopsis
Julius Caesar
The play opens with two tribunes discovering the commoners of Rome celebrating Julius Caesar's triumphant return from defeating the sons of his military rival, Pompey. The tribunes, insulting the crowd for their change in loyalty from Pompey to Caesar, attempt to end the festivities and break up the commoners, who return the insults. During the feast of Lupercal, Caesar holds a victory parade and a soothsayer warns him to "Beware the ides of March", which he ignores. Meanwhile, Cassius attempts to convince Brutus to join his conspiracy to kill Caesar. Although Brutus, friendly towards Caesar, is hesitant to kill him, he agrees that Caesar may be abusing his power. They then hear from Casca that Mark Antony has offered Caesar the crown of Rome three times and that each time Caesar refused it with increasing reluctance, in hopes that the crowd watching the exchange would beg him to accept the crown, yet the crowd applauded Caesar for denying the crown, upsetting Caesar, due to his wanting to accept the crown. On the eve of the ides of March, the conspirators meet and reveal that they have forged letters of support from the Roman people to tempt Brutus into joining. Brutus reads the letters and, after much moral debate, decides to join the conspiracy, thinking that Caesar should be killed to prevent him from doing anything against the people of Rome if he were ever to be crowned.
After ignoring the soothsayer, as well as his wife Calpurnia's own premonitions, Caesar goes to the Senate. The conspirators approach him with a fake petition pleading on behalf of Metellus Cimber's banished brother. As Caesar predictably rejects the petition, Casca and the others suddenly stab him; Brutus is last. At this point, Caesar utters the famous line "Et tu, Brute?" ("And you, Brutus?", i.e. "You too, Brutus?"), concluding with "Then fall, Caesar!"
The conspirators make clear that they committed this murder for the good of Rome, not for their own purposes, and do not attempt to flee the scene. Brutus delivers an oration defending his own actions, and for the moment, the crowd is on his side. However, Mark Antony makes a subtle and eloquent speech over Caesar's corpse, beginning with the much-quoted "Friends, Romans, countrymen, lend me your ears!" In this way, he deftly turns public opinion against the assassins by manipulating the emotions of the common people, in contrast to the rational tone of Brutus's speech, yet there is method in his rhetorical speech and gestures: he reminds them of the good Caesar had done for Rome, his sympathy with the poor, and his refusal of the crown at the Lupercal, thus questioning Brutus's claim of Caesar's ambition; he shows Caesar's bloody, lifeless body to the crowd to have them shed tears and gain sympathy for their fallen hero; and he reads Caesar's will, in which every Roman citizen would receive 75 drachmas. Antony, even as he states his intentions against it, rouses the mob to drive the conspirators from Rome. Amid the violence, an innocent poet, Cinna, is confused with the conspirator Lucius Cinna and is taken by the mob, which kills him for such "offenses" as his bad verses.
Brutus next attacks Cassius for supposedly soiling the noble act of regicide by having accepted bribes. ("Did not great Julius bleed for justice' sake? / What villain touch'd his body, that did stab, / And not for justice?") The two are reconciled, especially after Brutus reveals that his beloved wife committed suicide under the stress of his absence from Rome; they prepare for a civil war against Mark Antony and Caesar's adopted son, Octavius, who have formed a triumvirate in Rome with Lepidus. That night, Caesar's ghost appears to Brutus with a warning of defeat. (He informs Brutus, "Thou shalt see me at Philippi.")
At the battle, Cassius and Brutus, knowing that they will probably both die, smile their last smiles to each other and hold hands. During the battle, Cassius has his servant kill him after hearing of the capture of his best friend, Titinius. After Titinius, who was not really captured, sees Cassius's corpse, he commits suicide. However, Brutus wins that stage of the battle, but his victory is not conclusive. With a heavy heart, Brutus battles again the next day. He loses and commits suicide by running on his own sword, held for him by a loyal soldier.
The play ends with a tribute to Brutus by Antony, who proclaims that Brutus has remained "the noblest Roman of them all" because he was the only conspirator who acted, in his mind, for the good of Rome. There is then a small hint at the friction between Mark Antony and Octavius which characterises another of Shakespeare's Roman plays, Antony and Cleopatra.
Sources
The main source of the play is Thomas North's translation of Plutarch's Lives.
Deviations from Plutarch
  • Shakespeare makes Caesar's triumph take place on the day of Lupercalia (15 February) instead of six months earlier.
  • For dramatic effect, he makes the Capitol the venue of Caesar's death rather than the Curia Pompeia (Curia of Pompey).
  • Caesar's murder, the funeral, Antony's oration, the reading of the will and the arrival of Octavius all take place on the same day in the play. However, historically, the assassination took place on 15 March (The Ides of March), the will was published on 18 March, the funeral was on 20 March, and Octavius arrived only in May.
  • Shakespeare makes the Triumvirs meet in Rome instead of near Bononia to avoid an additional locale.
  • He combines the two Battles of Philippi although there was a 20-day interval between them.
  • Shakespeare has Caesar say Et tu, Brute? ("And you, Brutus?") before he dies. Plutarch and Suetonius each report that he said nothing, with Plutarch adding that he pulled his toga over his head when he saw Brutus among the conspirators, though Suetonius does record other reports that Caesar said in Greek "καὶ σὺ, τέκνον;" (Kai su, teknon?, "And you, child?") The Latin words Et tu, Brute?, however, were not devised by Shakespeare for this play since they are attributed to Caesar in earlier Elizabethan works and had become conventional by 1599.
Shakespeare deviated from these historical facts to curtail time and compress the facts so that the play could be staged more easily. The tragic force is condensed into a few scenes for heightened effect.
Date and text
Julius Caesar was originally published in the First Folio of 1623, but a performance was mentioned by Thomas Platter the Younger in his diary in September 1599. The play is not mentioned in the list of Shakespeare's plays published by Francis Meres in 1598. Based on these two points, as well as a number of contemporary allusions, and the belief that the play is similar to Hamlet in vocabulary, and to Henry V and As You Like It in metre, scholars have suggested 1599 as a probable date.
The text of Julius Caesar in the First Folio is the only authoritative text for the play. The Folio text is notable for its quality and consistency; scholars judge it to have been set into type from a theatrical prompt-book.
The play contains many anachronistic elements from the Elizabethan era. The characters mention objects such as doublets (large, heavy jackets) – which did not exist in ancient Rome. Caesar is mentioned to be wearing an Elizabethan doublet instead of a Roman toga. At one point a clock is heard to strike and Brutus notes it with "Count the clock".
Analysis and criticism
Historical background
Maria Wyke has written that the play reflects the general anxiety of Elizabethan England over succession of leadership. At the time of its creation and first performance, Queen Elizabeth, a strong ruler, was elderly and had refused to name a successor, leading to worries that a civil war similar to that of Rome might break out after her death.
Protagonist debate
Critics of Shakespeare's play Julius Caesar differ greatly on their views of Caesar and Brutus. Many have debated whether Caesar or Brutus is the protagonist of the play, because of the title character's death in Act Three, Scene One. But Caesar compares himself to the Northern Star, and perhaps it would be foolish not to consider him as the axial character of the play, around whom the entire story turns. Intertwined in this debate is a smattering of philosophical and psychological ideologies on republicanism and monarchism. One author, Robert C. Reynolds, devotes attention to the names or epithets given to both Brutus and Caesar in his essay "Ironic Epithet in Julius Caesar". This author points out that Casca praises Brutus at face value, but then inadvertently compares him to a disreputable joke of a man by calling him an alchemist, "Oh, he sits high in all the people's hearts,/And that which would appear offence in us/ His countenance, like richest alchemy,/ Will change to virtue and to worthiness" (I.iii.158–160). Reynolds also talks about Caesar and his "Colossus" epithet, which he points out has its obvious connotations of power and manliness, but also lesser known connotations of an outward glorious front and inward chaos.
Myron Taylor, in his essay "Shakespeare's Julius Caesar and the Irony of History", compares the logic and philosophies of Caesar and Brutus. Caesar is deemed an intuitive philosopher who is always right when he goes with his instinct, for instance when he says he fears Cassius as a threat to him before he is killed, his intuition is correct. Brutus is portrayed as a man similar to Caesar, but whose passions lead him to the wrong reasoning, which he realises in the end when he says in V.v.50–51, "Caesar, now be still:/ I kill'd not thee with half so good a will".
Joseph W. Houppert acknowledges that some critics have tried to cast Caesar as the protagonist, but that ultimately Brutus is the driving force in the play and is therefore the tragic hero. Brutus attempts to put the republic over his personal relationship with Caesar and kills him. Brutus makes the political mistakes that bring down the republic that his ancestors created. He acts on his passions, does not gather enough evidence to make reasonable decisions and is manipulated by Cassius and the other conspirators.
Traditional readings of the play may maintain that Cassius and the other conspirators are motivated largely by envy and ambition, whereas Brutus is motivated by the demands of honour and patriotism. Certainly, this is the view that Antony expresses in the final scene. But one of the central strengths of the play is that it resists categorising its characters as either simple heroes or villains. The political journalist and classicist Garry Wills maintains that "This play is distinctive because it has no villains".
It is a drama famous for the difficulty of deciding which role to emphasise. The characters rotate around each other like the plates of a Calder mobile. Touch one and it affects the position of all the others. Raise one, another sinks. But they keep coming back into a precarious balance.
Wills' contemporary interpretation leans more toward recognition of the conscious, sub-conscious nature of human actions and interactions. In this, the role of Cassius becomes paramount.

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