Julius Caesar was a famous Roman general and statesman,who laid the foundations of the Roman leadership system. He had a fascinating life at a time when much of the world was in chaos and in-fighting. He had a successful military career which was his platform to run for various elected positions. Like all rulers, there are many sides to every story; Caesar contributed a great deal to the development of Rome and many parts of Europe, but he was also conquering lands and people, which by virtue of war means death and destruction.
Five: Facts About Julius Caesar
1. His life was brief, just 56 years: born July 12 100 BC and murdered March 16, 44 BC
2. His reign of Rome was just five years, from 49 BC to 44 BC
3. Caesar is considered to be one of the greatest military strategists and tacticians in history, along with Alexander the Great, Genghis Khan, Napoleon, General George S. Patton, General George Washington, and Field Marshall Erich von Manstein.
4. Caesar and Cleopatra were romantically involved for 14 years but could not marry, because she was Queen of Egypt and under Roman law, marriage was only allowed between two Roman citizens.
5. Ceasar was given many accolades and honors during his leadership such as Pater Patriae (Father of the Fatherland), Pontifex Maximus (Highest Priest), and he eventually took the title Dictator. The title Dictator angered members of the Senate, who felt this challenged the very republic Caesar had created. Member of his Senate eventually murdered him famously on March 15th, which is referred to as the "Ides of March". After his assassination, he was even given the title Divus ("god") because he was so loved by the public.
Julius Caesar by William Shakespeare
Julius Caesar was probably written and performed in 1599, being the first Shakespeare play performed in the new Globe theater on the South Bank of the Thames.
Four background points are important to understand.
1) Historical Background - Elizabeth I had been monarch over England since 1559 but was in her mid-60s in 1599, and speculation was rife regarding a successor. She had no heir, and there was considerable worry that her death might lead to warfare such as had consumed the houses of Lancaster and York in the 15th century.Julius Caesar is a play exploring the chaos that results when a monarch dies without obvious successors. When she died in 1603, the Scottish House of Stuart took the throne with James I (James VI of Scotland) ruling.
Julius Caesaris the one of Shakespeare's earliest tragedies, with only Titus Andronicus (early 1590s) and Romeo and Juliet (mid 1590s) being earlier, and he wrote it mid-way through his career. Following quickly on its heels will be Hamlet, and some scholars see Brutus in Julius Caesar as a prototype or "first draft" of Hamlet. In addition, Julius Caesar is the first of Shakespeares' three Roman plays, the others being Coriolanus and Antony and Cleopatra. Plutarch, the 1st-2nd century A.D. biographer, in a 1579 translation by North, is his major source for these plays.
Thus, Shakespeare is feeling his way both in a new genre of playwriting as well as a new subject matter. The play that results, Julius Caesar, is of uneven quality: the first three Acts are among Shakespeare's most accomplished, but the literary power of Acts IV and V is less compelling.
2) Collapsing Time- One of the literary devices employed by Shakespeare to make the action more vivid is to collapse the actual historical time between scenes and acts. For example, the historical event contemplated by 1.1 is the defeat by Caesar of Pompey's sons at Munda in Spain in September 45 B.C. The celebration of Caesar's triumph is in February 44 B.C., and his assassination is in March 44. Yet, all these things happen in the first three Acts without any time apparently having passed. That is, the scenes go right from one to the next, with only a night passing between them. In addition, there was more than a year between the funeral of Caesar and the formation of the 2nd triumvirate (Mark Antony, Lepidus and Octavian), and then there was another year before the battle at Philippi (42 B.C.). Nevertheless, Acts IV and V of Julius Caesar follow directly on the heels of the assassination. All happens rapidly and intensely. We are caught up in the rapid pace of it all by Shakespeare's method.
3) Literary Style - The style of Julius Caesar has always made it popular. The language is sturdy and straightforward, like the Romans it describes. There is little word-play beyond the banter between the plebians and the Tribunes in 1.1. In addition, the play has been popular for secondary schools because there is no sex in it. Therefore, teachers can talk about the "greatness" of Shakespeare and have students read every line of the play without worrying about which parts of the male and female anatomy are being described. Finally, the language is vivid and memorable. Antony's vicious description of Lepidus, Cassius' resentful characterization of Caesar, Brutus's reference to tides in the affairs of men to spur action, Caesar's insufferable self-descriptions, Antony's masterful speech at Caesar's funeral, all of these make Julius Caesar not just a play of "one-liners," but a play of sustained eloquence. Many passages are worth memorizing, reciting and incorporating into educated conversation on subjects quite distinct from this play.
4) Themes
Many of the standard treatments talk about a "clash" of great themes in Julius Caesar, such as predestination vs. free will or the public vs. the private life, but I choose to see the themes not as presenting tensions between virtues or philosophical positions but as single words that are fraught with significant meaning. In this regard, the notions of betrayal or loyalty or ambition or the the penalties for ignorance of the self seem to have a greater resonance with me than supposed "tensions" between values. I think it is far more useful to talk about the nature and psychology of betrayal (with respect to Caesar) or the costs of lack of self-knowledge (with respect to Brutus). I think the portrait of Caesar's authority as "Christlike" or the vulnerability as well as resentment of Cassius call for comment. As with so much of Shakespeare's tragic works, the most fruitful issues to explore are in the area of the emotions or character growth. Finally, I think that Portia, Brutus's wife, is often overlooked but in fact is a crucial person in the play. By not having words shared with her by her husband at the right time, she cannot help him. By having those words shared with her at the wrong time, she cannot speak. Ultimately she dies in a manner that demonstrates her inability to speak: by swallowing hot coals.
Julius Caesar is a richly textured work whose complexity belies the apparently straightforward presentation of assassination and civil war.
ROMAN ANTIQUITY
Spanning one-ninth of the earth's circumference across three continents, the Roman Empire ruled a quarter of humanity through complex networks of political power, military domination and economic exchange. These extensive connections were sustained by pre-modern transportation and communication technologies that relied on energy generated by human and animal bodies, winds, and currents. Conventional maps that represent this world as it appears from space signally fail to capture the severe environmental constraints that governed the flows of people, goods and information. Cost, rather than distance, is the principal determinant of connectivity.
Circus Maximus
The Circus Maximus was the largest stadium in ancient Rome. At one point the Circus could seat 250.000 people, one quarter of Rome's population.
Early History
Chariot races were one of the Roman's most popular form of entertainment. Romulus, the first of Rome's seven kings, is said to have held chariot races. The origins of the Circus Maximus go back to the 6th century BC when Tarquinius Priscus, the fifth king of Rome, created a track between the Palatine and
Aventine hills. The first permanent starting gates were created in 329 BC. In 174 BC the gates were rebuilt and seven wooden eggs were placed on top of the spina, the central wall in the arena. The eggs were used to count the number of laps; after each lap one egg was removed. In 33 BC seven bronze dolphins were added to the spina for the same purpose.
Wooden Structures
A fire in 31 BC, the first of three, destroyed the wooden structure. It was rebuilt by emperor Augustus who also added an imperial box on the palatine hill. A large obelisk from Heliopolis was added to the spina as a decoration. The obelisk can now be found at the center of the Piazza del Popolo. Another obelisk was added much later, in the 4th century. A second fire, in AD 64, which started in wooden shops at the bottom around the track started the fire that burned much of Rome during the reign of emperor Nero.
The Marble Stadium
After yet another fire the Circus was rebuilt by Trajan in AD 103. The Roman empire was at the height of its power and the new Circus Maximus reflected this status. The Circus was now a stone construction, three stories high. The lower part of the cavea (seating area) was built in marble. The arena complex was now more than 600m long and 150m wide (2000x500ft).
Popular Events
The Circus Maximus was occasionally used for events such as processions or gladiator combats, but on most days only chariot races with quadrigaes, pulled by four horses, were held here. The races themselves were wildly popular with people fanatically supporting one of the four factions: red, white, green and blue representing summer, winter, spring and autumn respectively. Bets were laid on one of the factions and supporters of the different factions often clashed, sometimes resulting in deaths among the spectators.
The Last Race
The last race at the Circus Maximus was held in AD 549, almost a millennium after the first races were held at this location. Today only the layout of the original circus can be seen in what is now a large grassland. Most of the original structure has been used as building material for medieval and Renaissance constructions.
Julius Caesar Theme Park Project - 50 points - Due Tuesday, June 5, 2012
Shakespeare has hit the big time. His estate is allowing you, the theme park developer, to create a theme park based on one of his most famous plays, Julius Caesar. The Romeo and Juliet theme park has been such a success, it only seems natural to now open a second theme park based on a different play.
As the developer, you must make important decisions regarding the attractions, cost, requirements, and many other items. You are also in charge of promoting this theme park.
Your job as the developer will come in steps. First, you need to decide the following:
1. What is the name of the theme park?
2. What main attractions will you have?
A good theme park would have 5 major attractions to advertise.
3. Where is the theme park located?
4. What is the cost of admission?
5. What restaurants and other amenities are available?
6. You may choose to add other information at your discretion. After all, you are the developer!
Next, you must design a brochure for your theme park. The brochure must be neatly designed and it must relay all information outlined above. Make sure to include a Map of your theme park.
EXTRA CREDIT - 85 Points - Last day to turn in is Friday June 8, 2012
EXTRA CREDIT 85 Points - Tour the Getty Villa and take a picture of yourself in the Villa dei Papyri next to any one of the 6 black statues of the Girl Fastening her Peplos (See
picture below ) The statues are all surrounding a impluvium (collecting pool) located in Atrium. Return the picture along with your ticket stub , current Getty Museum Brochure and a two page (Typed, Double Spaced, #12 Arial Font, 1" Margins) paper.
Your reportMUSTinclude detailed descriptions of five ancient artifacts from the time of Julius Caesar (July 100 BC – 15 March 44 BC) that are on display at the Getty Villa Museum. You must also explain your experiences at the Museum and your overall impression of it. Provide enough detail so that the reader of your report, will get a sense of having made the observations themselves.
Visit the Getty Villa, an
educational center and museum dedicated to the
study of the arts and cultures of ancient Greece, Rome, and Etruria.
Address Getty Villa 17985 Pacific Coast Highway Pacific Palisades, CA 90272
Important! Please note: You must make a reservation at the Getty Website before being able to gain enterance to the museum.Access to the Getty Villa entrance is only from the northbound right-hand lane of Pacific Coast Highway (PCH).
Admission to the Getty Villa and to all exhibitions is FREE. An advance,
timed ticket is required for each adult. Each Villa general admission
ticket allows you to bring up to three children ages 15 and under with
you in one car. (This does not apply to tickets for events, such as
lectures and performances.)
Get to the Getty Villa via public transport! The Getty Villa is served
by Metro Bus 534, which stops at Coastline Drive and Pacific Coast
Highway directly across from the Getty Villa entrance. To find the route
that is best for you, call 323-GO-METRO ( 323-466-3876 ) or use the Trip Planner onwww.metro.net,
the Web site of the Los Angeles County Metropolitan Transportation
Authority. (Please note that passengers riding the bus to visit the
Getty Villa must have their Villa admission ticket hole-punched by the
driver before exiting the bus.)
Parking is $15 per car or motorcycle. It is FREE for all evening public programming, including theater, music, film, lectures, and other special programs held after 5:00 p.m.
For more parking information, see hours, directions, parking and frequently asked questions.
Opening Hours
Hours for the Getty Villa site and galleries:
Wednesday–Monday
10:00 a.m.–5:00 p.m.
Tuesday
CLOSED
Closed Tuesdays and on January 1, July 4 (Independence Day)
How
to get there
Take the Santa Monica Freeway I-10
west from L.A., until you get to the Pacific Coast Highway (US-1). Turn north
and arrive at the entrance to the Getty Villa after 5.1 miles. Stay in the
right lane and pay close attention to the signs. You cannot miss the entrance,
or you have to do a difficult circle back.
Keep in mind that traffic will be
heavy on all roads leading into the greater L.A. area during a weekday. This
includes PCH and 101. Make sure you plan your travel accordingly.
• Of Noble Heritage Brutus is a Roman nobleman, as was his father (Act 1, Sc. 2, lines 169-171). • Sincere: Brutus truly believes that his role in the assassination is for the good of Rome ( Act 2, Sc. 1, lines 10-34); (Act 3, Sc. 1, lines 178-186). • Honest: He refuses to take bribes (Act 4, Sc. 3, lines 72-89). • Naive: He believes in the essential goodness of those around him (Act 3, Sc. 1, lines 178-190); (Act 5, Sc. 5, lines 38-42). • Philosophical: His philosophies guide his actions and decisions. Finally, his decisions--refusing to agree to the death of Marc Antony (Act 2, scene 1, lines 161-197), allowing Marc Antony to speak at Caesar's funeral and to speak last (Act 3, Sc. 1, lines 254-261), and deciding to risk all in one battle at Philippi (Act 4, Sc. 3, lines 228-237)--prove disastrous to the conspirators' cause.
Cassius
• Envious: Cassius has contempt for Caesar and envies Caesar's position (Act 1, Sc. 2). • Fearful: Cassius is afraid that Caesar has ambitions to be king. He fears what might become of Rome in such an instance.(Act 1, Sc. 2). • Politically Astute: He advises Brutus to assassinate Antony along with Caesar (Act 2, scene 1, lines 161-168). Understanding what can happen, he advises Brutus not to allow Antony to speak at Caesar's funeral (Act 3, Sc. 1, lines 250-253). • Corrupt: Prior to the battle at Philippi, he is accused by Brutus of taking bribes (Act 4, Sc. 3, lines 9-12). • Military Strategist: His battle plan for Philippi is well thought out and based on sound military principles (Act 4, Sc. 3, lines 219-227).
Marc Antony
• Loyal to Caesar: Antony loved and admired Caesar (Act 3, Sc. 1, lines 209-225; 274-295; 302-305). • Clever: Antony pretends to befriend the conspirators and asks that he be allowed to speak at Caesar's funeral (Act 3, Sc. 1, lines 198-247). • A skilled orator: Antony's speech at Caesar's funeral sways the crowd (Act 3, Sc. 2, lines 80-260). • Hard: Antony's role in condemning men to death shows he can be as cold hearted as he is passionate (Act 4, Sc. 1, lines 1-7). • A skilled military leader: Antony has an equal voice in planning the war against the legions of Brutus and Cassius (Act 4, Sc. 1, lines 43-50).
Julius Caesar
• Physically weak: Caesar has several infirmities (Act 1, Sc. 2, lines 110-125; 225-226; 258-264). • A tyrant: Caesar has had Marullus and Flavius arrested (Act 1, Sc. 2, lines 293-295). • Superstitious: Caesar believes in portents and dreams (Act 2, Sc. 2, lines 6-7; 88-96). • Indecisive: Caesar cannot make up his mind whether or not to go to the senate (Act 2, Sc. 2, lines 11, 51, 60, and 112).
• Inflexible: Caesar thinks himself perfect and decisive (Act 3, Sc. 1, lines 51-52; 63-75).
Calphurnia
She is the wife of Julius Caesar who fails to dissuade her husband from going to the Capitol on the Ides of March. She foresees the death of Caesar in a dream, which shows streams of blood flowing from his body.
Portia
She is the daughter of Marcus Cato and wife of Brutus, and is a well-educated and intuitive woman, who senses that her husband is involved in some sort of conspiracy. When she realizes that her husband’s fortunes are doomed she commits suicide by swallowing hot coals.
Octavius Caesar
He is the adopted son and heir of Julius Caesar and he forms part of the second Triumvirate with Mark Antony and Lepidus. He does not have the military prowess of Julius Caesar or Mark Antony and Brutus defeats his army at Philippi. He does not die with his troops and joins Mark Antony in their victorious battle over Cassius and Brutus.
Lepidus
This is the third member of the Triumvirate who is a wealthy banker, but politically weak, and Antony uses him to run errands.
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
Omens and Portents
Throughout the play, omens and portents manifest themselves, each serving to crystallize the larger themes of fate and misinterpretation of signs. Until Caesar’s death, each time an omen or nightmare is reported, the audience is reminded of Caesar’s impending demise. The audience wonders whether these portents simply announce what is fated to occur or whether they serve as warnings for what might occur if the characters do not take active steps to change their behavior. Whether or not individuals can affect their destinies, characters repeatedly fail to interpret the omens correctly. In a larger sense, the omens in Julius Caesar thus imply the dangers of failing to perceive and analyze the details of one’s world.
Letters
The motif of letters represents an interesting counterpart to the force of oral rhetoric in the play. Oral rhetoric depends upon a direct, dialogic interaction between speaker and audience: depending on how the listeners respond to a certain statement, the orator can alter his or her speech and intonations accordingly. In contrast, the power of a written letter depends more fully on the addressee; whereas an orator must read the emotions of the crowd, the act of reading is undertaken solely by the recipient of the letter. Thus, when Brutus receives the forged letter from Cassius in Act II, scene i, the letter has an effect because Brutus allows it to do so; it is he who grants it its full power. In contrast, Caesar refuses to read the letter that Artemidorus tries to hand him in Act III, scene i, as he is heading to the Senate. Predisposed to ignore personal affairs, Caesar denies the letter any reading at all and thus negates the potential power of the words written inside.
Symbols
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
Fire
References to 'fire' indicate that there is an impending doom over Caesar, the conspirators and all that is Rome. This symbol is a foreshadowing and reminder of bad things to come. Fire is a symbol of the destructive powers of the gods.
Women and Wives
While one could try to analyze Calpurnia and Portia as full characters in their own right, they function primarily not as sympathetic personalities or sources of insight or poetry but rather as symbols for the private, domestic realm. Both women plead with their husbands to be more aware of their private needs and feelings (Portia in Act II, scene i; Calpurnia in Act III, scene ii). Caesar and Brutus rebuff the pleas of their respective wives, however; they not only prioritize public matters but also actively disregard their private emotions and intuitions. As such, Calpurnia and Portia are powerless figures, willing though unable to help and comfort Caesar and Brutus.
JULIUS CAESAR STUDY QUESTIONS
Study Questions & Vocabulary JULIUS CAESAR STUDY QUESTIONS ACT II
DUE ACT II, SCENE I. 1. What question is Brutus pondering at the opening of the scene? To what decision does Brutus come in his orchard? Why? 2. For what information does Brutus want Lucius to look at a calendar? What is the significance of what Lucius finds? What does Lucius give to Brutus in Scene I?
3. Why do the conspirators want Cicero to join them?
4. Why does Brutus reject Cicero and is against killing Mark Antony? What is Cassius's reaction and what does this show about his and Brutus's relationship? Why doesn't Brutus want to swear an oath with the conspirators?
5. What do the conspirators plan to do the next day?
6. Why did Brutus say, "Render me worthy of this noble wife!"? 7. How does Decius say he will make sure that Caesar will come to the Capitol?
8. What has Portia done to show Brutus that she is worthy of knowing his secrets?
ACT II, SCENE II. 9. What strange and horrible things does Calphurnia report to Caesar that have been seen that night?
10. What does Calphurnia mean by the following statement? “When beggars die, there are no comets seen;/ The heavens themselves blaze forth the death of princes.”(30-31)
11. How does Decius convince Caesar to go to the Capitol?
ACT II, SCENE III. 12. What is Artemidorus's plan? What does the note he wants to give to Caesar say?ACT II, SCENE IV. 13. Why is Portia so nervous and upset? On what errand does she send Lucius? ---------------------------------------------------------------------------------------------------------------------------------------------- 1) Anachronism: Something that is misplaced in a story because it is out of time. In Julius Caesar, a clock strikes though there were no clocks in Caesar’s day.
2) Irony (verbal) Verbal irony is saying one things but meaning another. In Julius Caesar, when Mark Antony refers in his funeral oration to Brutus as "an honorable man" repeatedly, he really means the opposite.
3) Hyperbole: Exaggeration; overstatement. Examples: (1) He [Julius Caesar] doth bestride the narrow world like a Colossus, and we petty men walk under his...huge legs.–Shakespeare. (Caesar has become a giant.) (2) Ten thousand oceans cannot wash away my guilt. (3) Oscar has the appetite of a starving lion.
4) Alliteration: repetition of the same sound beginning several words in sequence. Veni, vidi, vici. Julius Caesar
5) Apostrophe: (not the punctuation) a sudden turn from the general audience to address a specific groupor person or personified abstraction absent or present. *For Brutus, as you know, was Caesar's angel. Judge, O you gods, how dearly Caesar loved him. Shakespeare, Julius Caesar
6) Allusion "why, man he doth bestride the narrow world like a Colossus" (Cassius, Act 1, Scene 2) This is an allusion to the Colossus of Rhodes, one of the seven wonders of the ancient world
"Ay, as Aeneas, our great ancestor, did from the flames of Troy upon his shoulder the old Anchises bear.." (Cassius, Act 1, scene 2) Aeneas was the son of Anchises and Aphrodite. He is associated with the founding of Rome, and his story is told in Virgil's Aeneid.
7) Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. One of the devices of repetition, in which the same phrase is repeated at the beginning of two or more lines. "And Brutus is an honorable man."
8) Foreshadowing: Foreshadowing is a key literary device in the play. We see foreshadowing from the beginning of the play, when the Soothsayer tells Caesar to "Beware the Ides of March" in Act I, Scene I, which happens to be the day that Caesar is killed. Calpurnia later dreams of Caesar's death, but he does not heed her warning. this not only tells us what is going to happen, but it also shows us how Caesar's status and ego are getting to his head. Foreshadowing gives us a hint of what is to come, and can also reflect upon a character or characters.
9) Antithesis A figure of speech in which sharply contrasting ideas are juxtaposed in a balanced or parallel phrase or grammatical structure. "Not that I loved Caesar less, but that I loved Rome more." from speech by Brutus in J. Caesar
10) Paradox: "Cowards die many times before their deaths." Is a quote made by Ceasar in the book. This quote is a paradox because man can't actually die several times, but men fear death so much that they may as well be dead because they aren't living their lives to the fullest.
11) Oxymoron Using contradiction in a manner that oddly makes sense. Examples of oxymora include jumbo shrimp, sophisticated rednecks, and military intelligence. The best oxymora seem to reveal a deeper truth through their contradictions. For instance, "without laws, we can have no freedom." Shakespeare's Julius Caesar also makes use of a famous oxymoron: "Cowards die many times before their deaths" (2.2.32).
12) Aside: An aside is words spoken to the audience or perhaps to another character while other characters are on stage. The other characters pretend to not hear and we the audience get to listen in on the thoughts. In William Shakespeare's Julius Caesar, Trebonius is told to stay close to Caesar's side and he replies to Caesar: "Caesar, I will (and in an aside to the audience) and so near will I be,/That your best friends shall wish I had been further." (II. iv. 124-125) The audience hears everything, but everyone pretends that Caesar does not hear Trebonius' threatening words. It is a device used so that the audience gets to hear the candid, inner thoughts of the characters.
13) Pun (double entendre)Comic relief, a word or expression that has two different meanings JC Act 1; Scene 1; Line 15 "a mender of bad souls"
14) Monolouge Refers to a speech by one person in a drama, a form of entertainment by a single speaker, or an extended part of the text of a play uttered by an actor. ANTONY: Friends, Romans, countrymen, lend me your ears; Act III, Scene ii
15) Metaphor Upon what meat doth this our Caesar feed / That he is grown so great? (I, ii, 149-50) Analysis: Cassius compares Caesar to a carnivore and the common citizens to meat, not a very flattering comparison. Metaphor: Let me have men about me that are fat, / Sleek-headed men, and such as sleep o' nights. / Yond Cassius has a lean and hungry look; / He thinks too much, such men are dangerous. (I, ii, 192-5).
16) Onomatopoeia Use of words to imitate natural sounds. Brutus says "The exhalations whizzing in the air,: whizzing is an example of onomatopoeia. Act 2; Scene 1; Line 44
17) Simile The skies are painted with unnumbered sparks, / They are all fire, and every one doth shine; / But there's but one in all doth hold his place. / So in the world: 'tis furnished well with men. / And men are flesh and blood, and apprehensive, / yet in the number I do not know but one / That unassailable holds on his rank, / Unshaked of motion; and that I am he. (III, i, 63-70). Analysis: The reader gains a glimpse of the arrogant Caesar, who compares himself to the Northern star, that the conspirators fear.
18) Iambic pentameter A ten-syllable line consisting of five iambs is said to be in iambic pentameter ("penta" = five). Its stress pattern (five pairs of unstressed/stressed syllables) is conventionally represented U /U / U /U / U / / / - / - - / - - / Friends, Romans, countrymen, lend me your ears;
19) Personification Giving human traits (qualities, feelings, action, or characteristics) to non-living objects (things, colors, qualities, or ideas) Addressing conspiracy as if it were a person. (see example below)
20) Soliloquy An utterance or discourse by a person who is talking to himself or herself or is disregardful of or oblivious to any hearers present. Cassius in soliloquy about Brutus Act 1 Scene 2
O conspiracy, Sham’st thou to show thy dan’rous brow by night, When evils are most free? O, then by day Where wilt thou find a cavern dark enough To 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 enough To hide thee from prevention.
Act IV - QUESTIONS due 1. What did Antony, Octavius, and Lepidus gather to discuss? 2. To what does Antony compare Lepidus? 3. What problem has developed between Cassius and Brutus? How is it resolved? 4. What news did Messala bring Brutus? 5. For what reasons does Brutus want to lead his armies to Philippi? 6. What message did Caesar's ghost bring Brutus?
Act V - QUESTIONS due
1. Why did Pindarus stab Cassius? 2. What causes Titinius to say, "The sun of Rome is set!"? 3. Who do the soldiers believe they have captured in Scene IV? Who is it really? 4. How does Brutus die? 5. Why did Antony say Brutus was the "noblest Roman of them all"?
Things to know for Shakespeare's Julius Caesar - Final Test
"Julius Caesar" was the first of Shakespeare's plays to be performed at the Globe Theater in England
Major Characters
Julius Caesar: Leader of Rome, who is about to be crowned by the Senate, and is killed by a conspiracy for fear he will become a tyrant.
Cassius: Architect of the conspiracy to kill Caesar, and the man who convinces Brutus to join the conspiracy, and then leads them in ruling Rome.
Marcus Brutus: A powerful general and senator in the Roman army who is asked to lead a conspiracy against Caesar, and later fights against Marcus Antonius and Octavius Caesar to maintain control of Rome.
Casca: A member of the conspiracy, and co-architect of the plan with Cassius.
Cinna: A member of the conspiracy.
Decius Brutus: A member of the conspiracy who goes to Caesar's house and convinces him to come to the Senate even though he has been warned not to.
Trebonius: A member of the conspiracy. The man who takes Mark Antony away to distract him when Caesar is attacked.
Ligarius: Also a member of the conspiracy.
Metellus Cimber: The member of the conspiracy who approaches Caesar with his plea for a pardon for his brother, Publius Cimber, in order to get the conspirators close enough to Caesar to kill him.
Marcus Antonius (Mark Antony): Caesar's loyal aide and right hand man. Later, a member of the Triumvir that fights against Marcus Brutus and Cassius to regain power over Rome.
Portia: Brutus' Wife.
Calphurnia: Caesar's Wife.
Artemidorus: A sophist and loyal subject of Caesar who tries to warn him of the plot with a scroll he prepares.
Octavius Caesar: A member of the Triumvir that is planning to rule Rome and the surrounding areas. He is sent for by Caesar and arrives the day Caesar is killed. He then goes into battle with Antony against Brutus and Cassius for control of Rome.
Minor Characters
A Soothsayer: Warns Caesar--unheeded--to be aware of the ides of March.
M. Aemelius Lepidus: The third member of the Triumvir, who is condescended upon by Octavius and Antony, who believe he is dumb.
Cicero: A friend of Casca's who is not included in the conspiracy because he is not trusted, but who nonetheless is aware of the sentiments which spurred it on.
Pubilus: An elderly senator who cannot run from the Senate after Caesar is killed and is therefore asked by Brutus to calm the crowds.
Flavius and Marullus: Two Tribunes who begin the play by stating their fear of Caesar's power as they watch the Roman commoners prepare in a frenzy for his return.
Cinna: A poet who is chased by Roman plebeians because he has the same name as the conspirator.
Lucillius, Titinius, Messala, Young Cato, and Volummius: Friends of Brutus and Cassius who fight with them at Philippi.
Clitus, Claudius, Strato, and Dardanius: Officers and servants in Brutus' army.
Lucius: Brutus' young, loyal servant who is particularly well liked by Brutus. He tries to help Portia when she gets worried about Brutus while he is at the Senate.
Pindarus: A servant to Cassius who has become very loyal to him over the years.
An elderly poet: A man who tries to speak to Cassius and Brutus while they are fighting, but is snapped at by Brutus, who is in very bad humor because he has just found out that his wife has committed suicide.
Objects/Places
Rome: The city of which Caesar is about to be crowned King, the residence of all the characters in Julius Caesar, and the future center of the Roman empire that Octavius Caesar, Marcus Antonius, and M. Aemelius Lepidus plan to lead as Triumvirs.
Senate (Capitol): The location of the gathering of the Roman Senators, and the site where the members of the conspiracy murder Caesar.
Sardis: The site of Brutus' army encampment prior to the battle with Antony and Octavius.
Philippi: The site of the final battle between Brutus and Cassius' army and Antony and Octavius' army.
Take practice Quiz on Quotations from Julius Caesar
There has been much critical discussion about who is the real protagonist of the play. Most critics argue that Julius Caesar is the protagonist of the play, pointing out that he is the title character and the cause of all the action in the play. Even in scenes in which he is absent, he is the focus of the discussion and the reason for the revenge. After his death, his ghost roams the landscape of the play, further spurring the action. His character definitely holds the dramatic structure of the play together. Other critics argue that Caesar is a static character; undergoing no psychological change in the play; they also point out that he is murdered halfway through the drama. These critics believe that Marcus Brutus is the protagonist, claiming he is the complex character of the play whose psyche is explored in depth. They argue that his tragic flaw is very obvious; it is his immutable sense of principle and nobility. Because of his flaw, he makes many mistakes and suffers for them; as a result, he changes dramatically in the play. He first appears as Caesar's faithful friend; he then becomes a member of a conspiracy; he next serves as the misguided leader of a not-so-civil war; and finally he is seen as a man who has lost everything he once held dear, including his principles. In this analysis, Julius Caesar will be viewed as the protagonist of the main plot, and Marcus Brutus will be considered as the protagonist of the very important subplot.
MAIN PLOT
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.
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.
Climax
The tragic plot rises to its climax in the third act when Caesar is assassinated. It is an intensely dramatic scene in which Caesar's supposed friends converge on him and jointly stab him. This act of sacrilegious murder of the head of the state unleashes revolutionary forces headed by Brutus and Cassius against Antony and Octavius, giving rise to the subplot that centers on Brutus.
Outcome
The play clearly ends in tragedy. Caesar is overcome and assassinated by a group of conspirators. His death, which was supposed to prevent tyranny and dictatorship, gives rise to a massive and brutal civil war. Cassius, the key conspirator, kills himself; and Brutus runs on his own sword to commit suicide. A truly dictatorial triumvirate, composed of Antony, Octavius, and Lepidus, becomes the new leadership for Rome; the new government probably inflicts more harm than Julius Caesar would have done.
SUBPLOT
Protagonist
Marcus Brutus is the protagonist of the subplot of the play. He is a noble man who believes in his principles above all else, even when they are misguided. Believing that Rome will be better without Julius Caesar, he joins in the conspiracy to assassinate the Roman leader. After Caesar is killed, he is drawn into a bloody civil war in which he and Cassius must fight Antony and Octavius.
Antagonist
The key antagonist for Brutus is his own misguided sense of principle. He is certain that he is joining in the conspiracy to assassinate Caesar for the good of Rome. His tragic flaw is his idealism. He makes the fatal mistake of acting on his perceived public duty, to save Rome from Caesar, in direct conflict with the direction of his heart. Brutus is easily goaded on by Cassius, a master manipulator who is filled with envy and hungry for power. Brutus is so caught up in fulfilling his public destiny that he does not realize he has been manipulated into sacrificing his honor for a less-than-honorable cause.
During the civil war that follows Caesar's death, Brutus fools himself into believing that that Rome will still be a better place without the leadership of Caesar. When he realizes that the new Roman Triumvirate, composed of Antony, Octavius, and Lepidus, will be more dictatorial and tyrannous than Caesar, he realizes his own folly. He decides to end his own life by running on to his own sword.
Climax
Brutus' climax occurs when he realizes the futility of his actions, caused by his misguided principles. Personally shamed and defeated and horrified at what has happened to Rome, he decides in the fifth act to commit suicide.
Outcome
The subplot ends as a tragedy, like the main plot. Brutus is defeated by his own principles and takes his own life, ending the tragedy that began with the death of Caesar.
Note: There is one small ray of hope in the tragic play. Despite all the deaths and bloodshed, at least order has been restored to Rome by the end of the play.
Literary Terms
1) Anachronism: Something that is misplaced in a story because it is out of time. In Julius Caesar, a clock strikes though there were no clocks in Caesar’s day.
2) Irony (verbal) Verbal irony is saying one things but meaning another. In Julius Caesar, when Mark Antony refers in his funeral oration to Brutus as "an honorable man" repeatedly, he really means the opposite.
3) Hyperbole: Exaggeration; overstatement. Examples: (1) He [Julius Caesar] doth bestride the narrow world like a Colossus, and we petty men walk under his...huge legs.–Shakespeare. (Caesar has become a giant.) (2) Ten thousand oceans cannot wash away my guilt. (3) Oscar has the appetite of a starving lion.
4) Alliteration: repetition of the same sound beginning several words in sequence. Veni, vidi, vici. Julius Caesar
5) Apostrophe: (not the punctuation) a sudden turn from the general audience to address a specific groupor person or personified abstraction absent or present. *For Brutus, as you know, was Caesar's angel. Judge, O you gods, how dearly Caesar loved him. Shakespeare, Julius Caesar
6) Allusion "why, man he doth bestride the narrow world like a Colossus" (Cassius, Act 1, Scene 2) This is an allusion to the Colossus of Rhodes, one of the seven wonders of the ancient world
"Ay, as Aeneas, our great ancestor, did from the flames of Troy upon his shoulder the old Anchises bear.." (Cassius, Act 1, scene 2) Aeneas was the son of Anchises and Aphrodite. He is associated with the founding of Rome, and his story is told in Virgil's Aeneid.
7) Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. One of the devices of repetition, in which the same phrase is repeated at the beginning of two or more lines. "And Brutus is an honorable man."
8) Foreshadowing: Foreshadowing is a key literary device in the play. We see foreshadowing from the beginning of the play, when the Soothsayer tells Caesar to "Beware the Ides of March" in Act I, Scene I, which happens to be the day that Caesar is killed. Calpurnia later dreams of Caesar's death, but he does not heed her warning. this not only tells us what is going to happen, but it also shows us how Caesar's status and ego are getting to his head. Foreshadowing gives us a hint of what is to come, and can also reflect upon a character or characters.
9) Antithesis A figure of speech in which sharply contrasting ideas are juxtaposed in a balanced or parallel phrase or grammatical structure. "Not that I loved Caesar less, but that I loved Rome more." from speech by Brutus in J. Caesar
10) Paradox: "Cowards die many times before their deaths." Is a quote made by Ceasar in the book. This quote is a paradox because man can't actually die several times, but men fear death so much that they may as well be dead because they aren't living their lives to the fullest.
11) Oxymoron Using contradiction in a manner that oddly makes sense. Examples of oxymora include jumbo shrimp, sophisticated rednecks, and military intelligence. The best oxymora seem to reveal a deeper truth through their contradictions. For instance, "without laws, we can have no freedom." Shakespeare's Julius Caesar also makes use of a famous oxymoron: "Cowards die many times before their deaths" (2.2.32).
12) Aside: An aside is words spoken to the audience or perhaps to another character while other characters are on stage. The other characters pretend to not hear and we the audience get to listen in on the thoughts. In William Shakespeare's Julius Caesar, Trebonius is told to stay close to Caesar's side and he replies to Caesar: "Caesar, I will (and in an aside to the audience) and so near will I be,/That your best friends shall wish I had been further." (II. iv. 124-125) The audience hears everything, but everyone pretends that Caesar does not hear Trebonius' threatening words. It is a device used so that the audience gets to hear the candid, inner thoughts of the characters.
13) Pun: (double entendre) Comic relief, a word or expression that has two different meanings JC Act 1; Scene 1; Line 15 "a mender of bad souls"
14) Monolouge Refers to a speech by one person in a drama, a form of entertainment by a single speaker, or an extended part of the text of a play uttered by an actor. ANTONY: Friends, Romans, countrymen, lend me your ears; Act III, Scene ii
15) Metaphor Upon what meat doth this our Caesar feed / That he is grown so great? (I, ii, 149-50) Analysis: Cassius compares Caesar to a carnivore and the common citizens to meat, not a very flattering comparison. Metaphor: Let me have men about me that are fat, / Sleek-headed men, and such as sleep o' nights. / Yond Cassius has a lean and hungry look; / He thinks too much, such men are dangerous. (I, ii, 192-5).
16) Onomatopoeia Use of words to imitate natural sounds. Brutus says "The exhalations whizzing in the air,: whizzing is an example of onomatopoeia. Act 2; Scene 1; Line 44
17) Simile The skies are painted with unnumbered sparks, / They are all fire, and every one doth shine; / But there's but one in all doth hold his place. / So in the world: 'tis furnished well with men. / And men are flesh and blood, and apprehensive, / yet in the number I do not know but one / That unassailable holds on his rank, / Unshaked of motion; and that I am he. (III, i, 63-70). Analysis: The reader gains a glimpse of the arrogant Caesar, who compares himself to the Northern star, that the conspirators fear.
18) Iambic pentameter A ten-syllable line consisting of five iambs is said to be in iambic pentameter ("penta" = five). Its stress pattern (five pairs of unstressed/stressed syllables) is conventionally represented U /U / U /U / U / / / - / - - / - - / Friends, Romans, countrymen, lend me your ears;
19) Personification Giving human traits (qualities, feelings, action, or characteristics) to non-living objects (things, colors, qualities, or ideas) Addressing conspiracy as if it were a person. (see example below)
20) Soliloquy An utterance or discourse by a person who is talking to himself or herself or is disregardful of or oblivious to any hearers present. Cassius in soliloquy about Brutus Act 1 Scene 2
O conspiracy, Sham’st thou to show thy dan’rous brow by night, When evils are most free? O, then by day Where wilt thou find a cavern dark enough To 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 enough To hide thee from prevention.
Shakespeare's Julius Caesar 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.
Minor Themes
There are several minor themes that are developed throughout the entire play. These include the themes of the 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
THEME ANALYSIS
Major Theme
The major theme of the play is the corruptive influence of power. From the very beginning of the plot to the very end, everything is driven by a desire for increased power. Julius Caesar returns from his military victory over Pompey with a desire to be crowned the ruler of Rome and the entire Empire. As soon as he knows that the populace supports him, he begins to rule in a tyrannical and dictatorial way. Because the Senators do not want to lose their own power, several of them, led by Cassius, plot to destroy Caesar. Brutus is manipulated into joining the conspiracy, for he fears his friend will become a ruthless dictator; he openly states his belief that power corrupts all leaders.
After Caesar's assassination, Octavius and Antony seek their own power structure and Cassius, leading the conspirators, plots for his own victory. The two forces, in their search for ultimate power, are destined to clash. In the end, Cassius and Brutus are defeated in the power struggle, and Octavius and Antony emerge victorious. The power struggle, however, is not over, for Octavius will defeat Antony and become the ultimate Emperor of Rome. Shakespeare, in the play, has clearly depicted the corruptive influence of the search for power.
Minor Themes
One of the minor themes of the play is the quickness of one's fall from greatness. The name "Caesar" had always been associated with an all-powerful, ever-victorious, and absolute monarch. At the first of the play, Caesar appears as a man accustomed to great power and authority that takes the unquestioning obedience of his commands for granted. His attitude leads to great fear among the nobility of Rome that he might become a ruthless dictator if he is crowned the king. Cassius, the originator of the conspiracy to assassinate Caesar, denounces him as a tyrant, a man who acts "like a colossus' while lesser beings "walk under his huge legs and peep about/to find dishonorable graves." Caesar does little to allay these fears, since his own pride and arrogance makes him bear himself as invincible, unquestionable, and all-powerful. As a result, his demise is quickly plotted and his assassination occurs within a matter of days after his triumphant return from victory.
Another theme is the importance of balance. Brutus' tragedy stems from his totally idealistic belief that all men are guided by noble thoughts and also from his supposition that the ideal should be more important than reality. He fails to realize that men actively seek out their own interests since he himself is guided by altruistic motives. He is guided in all his actions by the desire to do right and suffers intensely when he realizes that he has, in fact, done wrong. Because of his naïve assumption, he is easily misled and manipulated into murder that he thinks is justified. It is through his character that Shakespeare explores the theme of the virtuous murderer. He, like Caesar, constructs a faulty self-image and falls prey to it. He sees himself as the only protector of Roman republicanism and is unable to step outside this self-image. He is torn apart by the conflicting claims of love for Caesar and love for Rome. He ultimately aligns himself with the conspirators because he values his public duty to Rome more than his personal friendship with Caesar. Had Brutus been more balanced in his approach or had Caesar been more balanced in his self-image, the outcome of the play could have been very different.
Closely related to the earlier themes is the importance of order in the universe. There was a widespread belief in the Elizabeth Age that political order was a reflection of cosmic order. In the Elizabethan world picture, the state was seen as a middle link between the cosmic universe and the individual man. For Elizabethans, all three levels of creation needed to work in close harmony with each other and any violation of order or degree in one level made its impact felt in all the levels of existence. Caesar himself compares his constancy to the fixity of the North Star, which provides a point of order in the firmament. Caesar's death results in chaos, destruction, death, and "domestic fury and fierce civil strife" which lets loose the "dogs of war." Throughout the play, the levels are clearly out of order, and the conflict is really about the reordering or Rome so that life can positively continue.
PLOT (STRUCTURE) ANALYSIS
Julius Caesar has a straightforward and well-developed plot, created in the usual Aristotelian manner. The introduction of the first act presents all the major characters, either in person or in conversation, and the conflict is established. Julius Caesar's victory over the sons of Pompey and his popular approval with the Roman citizens is introduced; however, hints of opposition to his becoming the Roman dictator are clearly presented.
The rising action quickly builds through the second and third acts until the climax occurs late in the third act. Cassius establishes a conspiracy against Caesar and manipulates Brutus into joining the plot. Brutus' decision to align with the conspirators is a crucial moral choice and results in Caesar's death, as well as his own. Following the climax, the murder of Caesar, the falling action is extended through the fourth and fifth acts because of the civil strife that naturally develops out of Caesar's murder. Antony and Octavius must fight Brutus and Cassius to maintain control of Rome. When they realize they are losing the fight, both Brutus and Cassius kill themselves in order to avoid the same of capture and imprisonment. The conclusion clearly established Octavius and Antony as the victors and the new leaders of Rome. Caesar's murder is avenged, and there is hope that order will be restored.
Closely related to the main plot of the play is a subplot that revolves around Brutus. In the introduction, he is presented as a man of principle and a friend of Julius Caesar. In the rising action that follows, Brutus is fearful that Caesar will become tyrannical in his rule and harm Rome. As a result of his fears, Brutus is tricked into joining Cassius and the conspirators; it is a difficult decision for him, and he struggles for an entire act in coming to his decision, which will prove his undoing. He joins in the assassination, truly believing that he is acting for the benefit of Rome. Not wanting the conspirators to seem like butchers, he refuses to allow Antony to be killed as well. He also agrees that Antony should be granted the privilege of speaking at Caesar's funeral. Both decisions add to the rising action, but lead to Brutus' downfall. Brutus willingly goes into battle with the conspirators, hopeful of success and believing that their victory will return peace and order to Rome. During the civil strife that follows, he begins to realize that Cassius has acted out of his own desire for power.
Realizing his mistake and knowing the cause of the conspirators is hopeless, he reaches his own personal climax by deciding to take his own life by running on his sword. The brief falling action following his decision shows that Brutus still deludes himself into believing that history will vindicate him and judge has actions as honorable. In truth, the conclusion reveals that only the enemy sees his worth as an honorable man who has acted out of principle and a love for Rome.
It is clear that both the main plot and the subplot end as tragedies with both protagonists succumbing to their antagonist. In the main plot, Julius Caesar is murdered, and Rome is thrown into turmoil. In the subplot, Brutus realizes his error in joining the conspirators and takes his own life. The only positive ray in the entire play is the fact that at the end there is hope that Rome may again find peace and order since the civil strife has come to an end.
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 as Cassius, Titinius, and Brutus all commit suicide by it.
HISTORICAL BACKGROUND
In history, Julius Caesar was a well-known general and statesman who wanted complete control of the Roman government. From an early age, he was a controversial figure. At age 17, he married Cornelia, the daughter of Lucius Cornelius Cinna, who was the leader of the Marian group that was devoted to Gaius Marius. The Roman dictator, Lucius Sulla, ordered Caesar to divorce Cornelia, but he refused. As a result, he was forced to leave Rome. He traveled to Greece and studied philosophy and oratory. Caesar was later pardoned by Sulla and returned to Rome to begin his political career. In 65 B.C., he was elected to his first public position, the Director of Work and Games. He gained popularity for the recreation he provided for the people. In 62 B.C., Caesar became a praetor, the office next in rank to consul. In 60 B.C., Caesuras allied himself with Crassus and Pompey to form the First Triumvirate. Although popular with the general populace, Caesar was hated by the conservatives.
Caesar knew that he needed a loyal army and military fame in order to become more powerful. As a result, he began a campaign against Gaul (France) in which he proved his military genius. During nine years of fighting, he only lost two battles in which he personally took part. He conquered all the territory west of the Rhine River. He also invaded Britain in 55 and 54 B.C. When he returned victorious to Rome, there were great public celebrations to honor him. Pompey, however, was jealous of Caesar's success; he eventually joined forces with the conservatives, who hated Caesar. Together they demanded in 49 B.C. that Caesar give up his army, which Caesar refused to do. To prove his might, he marched into Italy, starting a civil war. Within sixty days, he conquered Italy and had himself appointed dictator, consul, and tribune for life.
In 48 B.C., Caesar's army attacked Pompey's army in Greece. Caesar won the battle, but some of the enemy escaped. He then followed Pompey into Egypt, where Pompey was murdered. While in Egypt, Caesar fell in love with Cleopatra and fought a successful war to make her the ruler of her country. In 47 B.C., Caesar conquered Pharnaces II, the King of Pontus (now Turkey). A year later, Caesar defeated the last of Pompey's army in the north of Africa. In 45 B.C., he defeated the last two sons of Pompey in a battle at Munda. It was Caesar's last battle. He was the undisputed master of the Roman world, and he was ready to return to Rome in triumph.
The Roman citizens gave Caesar a warm welcome home. He further won their favor when he refused to be crowned King; an astute politician, he knew that Roman citizens really resented kingdoms. The conservatives of Rome were alarmed at Caesar's popularity and the power that it gave him. Gaius Cassius, joined by Marcus Junius Brutus, led a group of conservative aristocrats in a plot to murder Caesar. On March 15 (the Ides of March) in 44 B.C., the conspirators stabbed Caesar as he entered the Senate Building. He quickly died from the more than twenty wounds he received.
Caesar's importance in Rome lasted after his death, for he was responsible for many reforms. He cleared up the confusion of the Roman calendar, stopped dishonest government practices, reorganized city government, granted citizenship to many people who lived in the provinces, improved living conditions for the poor, gave grain to the hungry and founded a public library. Because of such reforms, Caesar was secure in his popularity with the Roman people. Because of his self-confidence, he dared to treat the Senators with disrespect. As a result, they plotted his demise and succeeded in his assassination.
Rubicon : The Last Years of the Roman Republic by Tom Holland After a palace coup demolished the reign of King Tarquin of Rome in 509 B.C., a republican government flourished, providing every person an opportunity to participate in political life in the name of liberty. As Holland, a novelist and adapter of Herodotus' Histories for British radio, points out in this lively re-creation of the republic's rise and fall, the seeds of destruction were planted in the very soil in which the early republic flourished. It was more often members of the patrician classes who had the resources to achieve political success. Such implicit class distinctions in an ostensibly classless society also gave rise to a new group of rulers who acted like monarchs. Holland chronicles the rise to power of such leaders as Sulla Felix, Pompey, Cicero and Julius Caesar. Some of these leaders, such as Pompey, appealed to the masses by expanding the republic through military conquest; others, like Cicero, worked to reinforce class distinctions. Holland points to the suppression of the Gracchian revolution-a series of reforms in favor of the poor pushed by the Gracchus brothers in the second century B.C.-as the beginning of the end of the republic, providing the context into which Julius Caesar would step with his own attempts to save the republic. As Holland points out, Caesar actually precipitated civil wars and helped to reestablish an imperial form of government in Rome. With the skill of a good novelist, Holland weaves a rip-roaring tale of political and historical intrigue as he chronicles the lively personalities and problems that led to the end of the Roman republic.
Read Colleen McCullough's Masters of Rome series. It is an excellent introduction to the Roman world. Her work is meticulously researched, and (to my knowledge) never contradicts known facts (except perhaps in very minor details). The size of the books can be somewhat daunting, and her style of writing may not be for everyone - I suppose she's the kind of author you either love or hate.
JULIUS CAESAR & Rome Book Titles
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SUMMER READING LIST
Steven Saylor's Roma sub Rosa series is a set of "mysteries" that take place in Ancient Rome, during the time of Cicero. As historical novels/thrillers, they are quite good. Where the series shines the most is in the vivid portrayal of the life of the average Roman; the neighborhoods, the markets, the crowds, the back alleys and the taverns.
Triumph Of Caesar: A Novel Of Ancient Rome - Gordianus the Finder is at first reluctant to accept a commission from Julius Caesar's wife, Calpurnia, to discover which of the general's many enemies may be plotting her husband's assassination soon after his victory in the Roman civil war. When Calpurnia reveals that the first man she'd hired for the job, Hieronymous, was murdered, the sleuth agrees to help because Hieronymous was an old friend of his. The suspects in Hieronymous's death, who include such prominent figures of the period as Cleopatra and Marc Antony, may well be the ones seeking to kill Caesar.
Imperium: A Novel of Ancient Rome by Robert Harris The tumultuous history of Rome from 79 to 64 B.C. comes alive in this fictional biography of Marcus Tullius Cicero, the politician and superb orator who rose to the empire's highest office after starting as an outsider from the provinces. His first legal case drew him into a long battle with powerful Gaius Verres, the dangerously corrupt governor of Sicily. Cicero displayed his wit and talent for oration and strategy to triumph over Verres and other opponents in high-profile cases. Harris has written a fast-paced tale, the first part of a trilogy. He examines the full spectrum of Roman society, including its dark side of corruption, class divisions, betrayal, and cruelty. Cicero, who sought imperium, or ultimate power of the state, is portrayed as a sympathetic figure whose allegiance was to the idea of Republic. The author paints a vivid picture of everyday life, and the courtroom dramas are, at times, riveting. Readers will recognize other famous Romans who pop up in the story, including Julius Caesar and Pompey. They may also recognize the timelessness of the pursuit of power.