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Julius Caesar

Synopsis and plot overview of shakespeare's julius caesar.

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TL;DR (may contain spoilers): Julius Caesar is warned of the ides of March, ignores it, and dies; plebeians are way too easily swayed; all the conspirators die too.

Julius Caesar Summary

Jealous conspirators convince Caesar's friend Brutus to join their assassination plot against Caesar. To stop Caesar from gaining too much power, Brutus and the conspirators kill him on the Ides of March. Mark Antony drives the conspirators out of Rome and fights them in a battle. Brutus and his friend Cassius lose and kill themselves, leaving Antony to rule in Rome. 

More detail: 2 minute read

The tribunes of Rome, Marullus and Flavius, break up a gathering of citizens who want to celebrate Julius Caesar's triumphant return from war. The victory is marked by public games in which Caesar's protégé, Mark Antony, takes part. On his way to the arena, Caesar is stopped by a stranger who warns him that he should 'Beware the Ides [15th] of March.'

Fellow senators, Caius Cassius and Marcus Brutus, are suspicious of Caesar's reactions to the power he holds in the Republic. They fear he will accept offers to become Emperor. He has been gaining a lot of power recently and people treat him like a god. Cassius, a successful general himself, is jealous of Caesar. Brutus has a more balanced view of the political position. The conspirator Casca enters and tells Brutus of a ceremony held by the plebeians. They offered Caesar a crown three times, and he refused it every time. But the conspirators are still wary of his aspirations. 

Cassius, Casca, and their allies plant false documents to manipulate Brutus to join their cause to remove Caesar. After doing so, they visit Brutus at night in his home to persuade him of their views. There they plan Caesar's death. Brutus is troubled but refuses to confide in his devoted wife, Portia. On 15 March, Caesar's wife, Calpurnia, urges him not to go to the Senate. She has had visionary dreams and fears the portents of the overnight storms. 

The fault, dear Brutus, is not in our stars, but in ourselves. — Julius Caesar, Act 1 Scene 2

Caesar is nevertheless persuaded by flattery to go to the Capitol. At the Capitol, he is stabbed by each conspirator in turn. As Brutus gives the final blow, Caesar utters the famous phrase:

Et tu, Brute? — Julius Caesar, Act 3 Scene 1

Against Cassius's advice, Brutus allows Mark Antony to speak a funeral oration for Caesar in the market place. He is allowed under the condition that first Brutus must address the people to explain the conspirators' reasons and their fears for Caesar's ambition. After Brutus speaks, the crowd becomes calm and supports his cause. However, Antony, in his speech, questions the motives of the conspirators and reminds the crowd of Caesar's benevolent actions and of his refusal to accept the crown. He also reads them Caesar's will, in which Caesar leaves public land and money to each Roman citizen. Antony's speech stirs the crowd into a murderous riot, and the conspirators are forced to flee from the city.

Brutus and Cassius gather an army in Northern Greece and prepare to fight the forces led by Mark Antony. Antony has joined with Caesar's great-nephew, Octavius, and with a man called Lepidus. Away from Rome, Brutus and Cassius are filled with doubts about the future and quarrel over funds for their soldiers' pay. After making amends, they prepare to engage Antony's army at Philippi, despite Cassius' misgivings about the site. Brutus stoically receives news of his wife's suicide in Rome. He then sees Caesar's ghost as he tries to rest and is unable to sleep on the eve of the conflict.

Men at some time are masters of their fates. — Julius Caesar, Act 1 Scene 2

In the battle, the Republicans (led by Brutus) appear to be winning at first. But when Cassius' messenger's horse seems to be overtaken by the enemy, Cassius fears the worst and gets his servant to help him to a quick death. After finding Cassius's body, Brutus commits suicide. He believes this to be the only honourable option left to him. Antony, triumphant on the battlefield, praises Brutus as 'the noblest Roman of them all' and orders a formal funeral before he and Octavius return to rule in Rome.

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Julius Caesar

William shakespeare, ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on William Shakespeare's Julius Caesar . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Julius Caesar: Introduction

Julius caesar: plot summary, julius caesar: detailed summary & analysis, julius caesar: themes, julius caesar: quotes, julius caesar: characters, julius caesar: symbols, julius caesar: literary devices, julius caesar: quizzes, julius caesar: theme wheel, brief biography of william shakespeare.

Historical Context of Julius Caesar

Other books related to julius caesar.

• Full Title: The Tragedy of Julius Caesar
• When Written: 1599
• Where Written: England
• When Published: 1623
• Literary Period: Renaissance
• Genre: Tragic drama; history play
• Setting: Rome and environs, 44 B.C.E.
• Climax: Brutus’s suicide
• Antagonist: Cassius
• Point of View: Dramatic

Extra Credit for Julius Caesar

Time Warp. As in many of his plays, Shakespeare manipulates time in Julius Caesar , both for dramatic convenience and to make the setting less foreign to his audience. For example, the time between Caesar's triumphal march with Pompey's sons and the defeat of Cassius and Brutus was around two years in real life, but Shakespeare compresses it into two months. And at one point a mechanical clock strikes the time, yet such clocks wouldn’t be invented for over 1,000 years after the play takes place!

Et tu, Bruté? Despite the title of Julius Caesar , one could argue that this play could just as easily be titled the Tragedy of Brutus . Caesar dies less than halfway through the play and has fewer lines than several other major characters. The story of the noble Brutus being undone by his dispassionate logic and his trust in Cassius conforms much more closely to the literary model of tragedy.

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Julius Caesar Summary

Here is a brief Julius Caesar summary :

The tribunes, Marullus and Flavius, break up a gathering of Roman citizens who seek to celebrate Julius Caesar’s triumphant return from war. The victory is marked by public games in which Caesar’s friend, Mark Antony, takes part. On his way to the arena Caesar is stopped by a stranger who warns that he should ‘beware the ides of March’ (find out more about the ides of March ).

Fellow senators, Caius Cassius and Marcus Brutus are suspicious of Caesar’s reactions to the power he holds in the Republic. They fear he will accept offers to become Emperor. Cassius, a successful general himself, is jealous, while Brutus has a more balanced view of the political position. Cassius, Casca, and their allies visit Brutus at night to persuade him of their views, and they plan Caesar’s death. Brutus is troubled but will not confide in his devoted wife, Portia.

On the 15th March Caesar is urged not to go to the Senate by his wife, Calphurnia, who has had dreams that he will be murdered, and she fears the portents of the overnight storms. He is nevertheless persuaded by flattery to go, and as petitioners surround him Caesar is stabbed and dies as Brutus gives the final blow. Against Cassius’s advice Mark Antony is allowed by Brutus to speak a funeral oration in the market place after Brutus has addressed the people of Rome to explain the conspirators’ reasons and their fears for Caesar’s ambition. Brutus calms the crowd, but Antony’s speech stirs them to riot and the conspirators are forced to flee from the city.

Brutus and Cassius gather an army in Northern Greece and prepare to fight the forces led by Mark Antony, who has joined with Caesar’s great-nephew, Octavius, and Lepidus. Away from Rome, Brutus and Cassius are filled with doubts about the future and they quarrel bitterly over funds for their soldiers’ pay. They make up the argument and despite the misgivings of Cassius over the site they prepare to engage Antony’s army at Philippi. Brutus stoically receives news of his wife’s suicide in Rome, but he sees Caesar’s ghost as he rests, unable to sleep on the eve of the conflict.

In the battle, the Republicans at first appear to be winning but when his messenger’s horse seems to be overtaken by the enemy Cassius fears the worst and gets his servant, Pindarus, to help him to a quick death. Brutus, finding Cassius’s body, commits suicide as the only honourable action left to him. Antony, triumphant on the battlefield, praises Brutus as ‘the noblest Roman of them all’, and orders a formal funeral before he and Octavius return to rule in Rome.

And that’s the end of this brief Julius Caesar summary. What do you think – is anything not clear? Let us know in the comments section below!

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Caesar is set upon by senators on the ides of March, a key part of the Julius Caesar summary.

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This summary really sucks. Nobody should ever use this website for summaries.

bruhhh you clicked on the website too, meaning you also tried to look for a summary of the book/play lazy asss bitch

I’m an English teacher…this summary is great…it would pass the quizzes.

who is the author?

William Shakespeare?

William Shakespeare

Cut the guy some slack he stayed here for what seems like 45 – 1hr, creating a summary for a book that your lazy ass wouldn’t read. or even worse there is a movie that you could have watched. you guys should learn to appreciated the little things in life and maybe you won’t be so unsuccessful in life.

Lion king is better

Very nice and fluent.

Thnx this really helped me a lot for last moment revision

Awesome review, super short and to the point :)

i like this play most as Antony is the funniest and most intelligent person in this full play and i think that caesar was the world’s best kng i have a query that is this play real or not

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Yes, this play is most certainly real- it was written by Shakespeare and is among his more famous plays. He coined the line “Et tu, Brutus?” in the murder scene of his drama.

Also, if you were wondering if this play is true history, yes, well, in a way. Yes, there was a famous, rich politician-general named Julius Caesar in early Rome. Yes, there was a Brutus. There was a Cassius. The plot line in general of Shakespeare’s play is historically accurate, though needless to say with a good bit of artistic licence. I hope that helps.

never talked much on first and second triumvirate

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Julius Caesar

By william shakespeare, julius caesar summary and analysis of act 1, act one, scene one.

Two Roman tribunes, Flavius and Murellus , see the common people parading in the streets instead of working in their shops. They demand to know why the men are not working. A cobbler informs them that the people are celebrating Caesar's victory. Murellus is infuriated by this information, and calls the workers, "you blocks, you stones" (1.1.34). He then tells them that Caesar has not defeated an enemy, but rather that Ceasar has killed the sons of Pompey the Great. Pompey previously ruled Rome along with Caesar until their alliance fell apart, at which point they went to battle over the right to rule.

Flavius's speech then causes the commoners to be ashamed of celebrating Caesar's victory. They depart in a more sober mood. Flavius and Murellus then prepare to remove the imperial crowns placed on all the statues of Caesar and next decide to drive the commoners back into their houses in an effort to prevent Rome from celebrating Caesar's victory.

Act One, Scene Two

Julius Caesar triumphantly returns to Rome on the festival of Lupercalia, celebrated on February 15. He is followed by Antony and Brutus, their wives, and many followers. Caesar tells Antony to strike his wife Calpurnia during the festival (during which two men, including Antony, run through the street of Rome and hit those they meet with goatskin thongs) to rid her of her sterility. Antony responds with, "When Caesar says 'Do this', it is performed" (1.2.12).

A soothsayer approaches Caesar and calls out for attention. Caesar allows him to speak, and the man tells Caesar, "Beware the ides of March" (1.2.25). Caesar ignores this warning and calls the man a dreamer. Caesar then leaves with his assembled men.

Brutus and Cassius remain on the stage. Cassius tells Brutus that he has noticed Brutus acting more serious lately. Brutus tells him that he is "with himself at war" (1.2.48) and that Cassius should not worry about it. After a shout and cheering from offstage, Brutus remarks he is afraid the people will crown Caesar king. Cassius is thrilled to hear this, and tells Brutus that they were both born as free men the same way Caesar was. He tells Brutus a story in which he and Caesar were holding a swimming contest across the Tiber river, and Caesar started to drown. Cassius claims that he rescued Caesar and carried him to the shore. He then complains that Caesar has become so powerful that even though he once saved Caesar's life, he must now bow before him.

Cassius then tells Brutus that "Brutus" is just as good a name as "Caesar", and that both names could just as easily rule Rome. He invokes the image of Brutus' ancestor who founded the Roman Republic and expelled the former kings. Brutus, afraid that Caesar will become a king, struggles to decide whether to join Cassius in taking action against Caesar, but ultimately decides against it.

Caesar returns, accompanied by his followers. He turns to Antony and remarks, "Let me have men about me that are fat, / Sleek-headed men, and such as sleep a-nights. / Yon Cassius has a lean and hungry look. / He thinks too much. Such men are dangerous" (1.2.193-196). Antony dismisses Caesar's concern, but Caesar is not convinced that Cassius is completely trustworthy. He tells Antony to come with him and let him know if there is anything to be worried about.

Casca remains onstage with Brutus and Cassius and tells them that the three shouts they heard were because Antony offered Caesar the crown three times, but he turned it down each time. Casca then says that Caesar swooned and fell down with his mouth foaming at the lips. (Caesar was considered to be epileptic, called the "falling sickness".) When Caesar awoke, he begged to be forgiven for his infirmary. Casca adds that the people forgave Caesar and worshipped him even more for turning away the crown. He also explains that Murellus and Flavius, the public tribunes, were removed from office for pulling the decorations off of Caesar's statues. Cassius, hoping to lure him into the conspiracy against Caesar, invites Casca to dinner the next night. Brutus also takes his leave, but agrees to meet with Cassius the next night as well. In a soliloquy, Cassius informs the audience that he will fake several handwritten notes and throw them into Brutus' room in an attempt to make Brutus think the common people want him to take action against Caesar.

Act One, Scene Three

Casca meets with Cicero , one of the great Roman orators, and tells him he has seen many strange things on the streets of Rome that night including a slave with a burning yet uninjured left hand, a lion loose in the streets, and an owl hooting in the daytime. Cicero tells him men interpret things in their own way, and takes his leave.

Cassius then arrives and tells Casca that there is a reason behind all of the strange events taking place in Rome. Casca asks him, "'Tis Caesar that you mean, is it not, Cassius?" (1.3.78). Casca tells him that the senators are planning to make Caesar a king the next morning. At this news, Cassius draws his dagger and threatens to die before ever allowing Caesar to achieve so much power. Casca shakes hands with Cassius and they agree to work together to prevent Caesar from seizing power.

Cinna , a co-conspirator, arrives and takes a piece of paper from Cassius. Together they then leave to go throw Cassius' handwritten notes through Brutus' window. Cassius indicates that he is quite sure Brutus will join them within the next day.

Julius Caesar opens with the tribunes of the people chastising the plebeians for being fickle. They refer to the masses as "You blocks, you stones, you worse than senseless things!"(1.1.34). This imagery of the masses as stones will continue throughout the play. They are in fact a fickle group of people, easily swayed by whoever is speaking to them, as evidenced later in the play when Antony turns a hostile crowd into a mob against Brutus and Cassius.

The play also holds much contemporary appeal. Calpurnia's means Caesar does not have an heir, something many English worried about as Queen Elizabeth also had no heir. However, in the play, Caesar's desire for an heir has a darker meaning. He tells Antony, "Forget not your speed, Antonio, / To touch Calpurnia, for our elders say / The barren, touched in this holy chase, / Shake off their sterile curse" (1.2.8-11). Brutus interprets the importance Caesar places on this issue as evidence Caesar hopes to create a dynasty, thus fueling Brutus' reasons for destroy Caesar.

In these opening scenes, a great deal of interpretation and misinterpretation occurs. Cicero refers to this concept, telling Cassius, "Indeed, it is a strange-disposed time; / But men may construe things after their fashion, / Clean from the purpose of the things themselves" (1.3.33-35). With this statement, he implies that each man will interpret signs according to what he believes, and will thus ignore the signs' true menaings. Caesar proves Cicero correct by dismissing the soothsayer's warning and later ignoring Calpurnia's dream of his death. Omens abound during these scenes, with the tempestuous weather, an owl screeching during the day, and a lion is loose in the streets.

The mirror, so often invoked in other Shakespearean plays, is also a significant image in Julius Caesar. For example, Cassius asks Brutus, "Tell me, good Brutus, can you see your face?" (1.2.53). He continues, "That you have no such mirrors as will turn / Your hidden worthiness into your eye / That you might see your shadow...I, your glass" (1.2.58-60, 70). Essentially Cassius tells Brutus that he will be the mirror who reflects back to Brutus his true feelings and nature. At this moment, the reader recognizes Cassius has a private agenda and is providing Brutus with a fals mirror.

Cassius continues to manipulate Brutus by comparing him to Caesar, asking "Brutus and Caesar: what should be in that 'Caesar'? / Why should that name be sounded more than yours? / Write them together: yours is as fair a name...Conjure with 'em: / 'Brutus' will start a spirit as soon as 'Caesar'" (1.2.143-148). Cassius hopes to incite jealousy and a desire for power in Brutus, and also reveals that he believes Caesar is their equal. Furthermore, Cassius invokes Brutus' ancestor, Lucius Junius Brutus, a man famous for expelling the former kings of Rome, in his attempt to sway Brutus. Brutus accepts this flattery and in fact refers to it later on when deciding whether or not to join the conspirators.

Caesar's description of Cassius is clearly disapproving, and at once shows the reader that he will be a source of conflict: "Let me have men about me that are fat, / Sleek-headed men, and such as sleep a-nights. / Yon Cassius has a lean and hungry look. / He thinks too much. Such men are dangerous" (1.2.193-196). Caesar continues, "He [Cassius] reads much, / He is a great observer, and he looks / Quite through the deeds of men. He loves no plays, / As thou dost, Antony; he hears no music. (1.2.202-205). Generally, Shakespearean characters that do not enjoy music or plays are inherently evil. Caesar fears Cassius because he does not enjoy life, whereas he trusts Antony who is almost famous for his ability to have a good time.

Two sides of Caesar exist in the play: Caesar as a concept and as a human being. The human in Caesar is weak, needs Cassius to save him from drowning and has epileptic fits. However, the concept of Caesar, the great general and leader is all powerful and noble. His every word is a command, and the people follow him.

Throughout the play, Caesar demonstrates an inability to effectively communicate, a theme reflected in much of the plays action. For example, in the first act the tribunes and plebeians talk across each other rather than to one another. Later on, Brutus and Cassius are constantly interrupted by shouts offstage, breaking their conversion and distracting Brutus. Caesar's particular weakness in communication stems from his being deaf in his left ear. At one point he requests, "Come on my right hand, for this ear is deaf, / And tell me truly what thou think'st of him" (1.2.214-215). Caesar's deafness is in fact symbolic of his unwillingness to see danger in the world around him. As such, he dismisses the soothsayer and his wife Calpurnia's dream rather than accepting their morbid predictions.

In Richard II , the fall of Richard is represented by his constant descent from the throne. Similarly, Shakespeare foreshadows Caesar's fall in Julius Caesar when Caesar has an epileptic fit in the public square. This imagery of falling also coincides with the decline of language comprehension immediately thereafter. For example, Casca describes Cicero's speech saying, "It was Greek to me" (1.2.178), an expression that has since become cliche.

The action of the play is mostly focused on Brutus, a man who dominates the plot and speaks the most lines. Thus, some might wonder why the play is titled after Julius Caesar. Traditionally, Shakespeare named his plays after rulers ( Henry VIII , Richard III , etc.). However, upon a close read, Julius Caesar does truly revolve around Caesar. Brutus' internal conflict is a struggle between his friendship for Caesar and his loyalty to the Roman Republic. Indeed, Caesar's influence on the plot continues even after his death, specifically when his ghost appears to Brutus, indicating the memory and myth of Caesar will never die.

Julius Caesar Questions and Answers

The Question and Answer section for Julius Caesar is a great resource to ask questions, find answers, and discuss the novel.

Julius Caesar Act 2

Brutus decides to join the conspiracy to murder Caesar. Brutus thinks Caesar will become too powerful if he is crowned and Rome will suffer for it.

Thematic analysis of Julius Caesar

This really depends on what specific theme you are referring to. Please check out the themes page below to explore different themes.

https://www.gradesaver.com/julius-caesar/study-guide/themes

17. Who had his birthday in the play? a. Cassius c. Caesar b. Antony d. Brutus

Study Guide for Julius Caesar

Julius Caesar study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Julius Caesar
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Essays for Julius Caesar

Julius Caesar literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Julius Caesar.

• The Gender Transformation of Caesar
• Classification of the Main Characters of William Shakespeare's The Tragedy of Julius Caesar
• Shakespeare's Presentation of the Character of Mark Antony in 'Julius Caesar'
• Julius Caesar, Act II, Scene 1: A lesson is dramatic effectiveness
• Self-Deluded Characters in Julius Caesar

Lesson Plan for Julius Caesar

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E-Text of Julius Caesar

Julius Caesar E-Text contains the full text of Julius Caesar

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Home — Essay Samples — Literature — The Tragedy of Julius Caesar — Summary Of Julius Caesar By William Shakespeare

Summary of Julius Caesar by William Shakespeare

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What was Julius Caesar’s childhood like?

Julius Caesar's family was old Roman nobility , but they were not rich. His father died when he was 16, but he received significant support from his mother.

How did Julius Caesar change the world?

Julius Caesar was a political and military genius who overthrew Rome’s decaying political order and replaced it with a dictatorship. He triumphed in the Roman Civil War but was assassinated by those who believed that he was becoming too powerful.

How did Julius Caesar die?

Julius Caesar was murdered in the Roman Senate House by a group of nobles on March 15, 44 BCE. The assassination plot was led by Gaius Cassius Longinus and Marcus Junius Brutus .

How did Julius Caesar come to power?

Julius Caesar crafted an alliance with Marcus Licinius Crassus and Pompey to form the First Triumvirate and challenge the power of the Roman Senate. After Crassus's death, Caesar led his army into Italy, defeated Pompey, and claimed the title of dictator.

Julius Caesar (born July 12/13, 100? bce , Rome [Italy]—died March 15, 44 bce , Rome) was a celebrated Roman general and statesman, the conqueror of Gaul (58–50 bce ), victor in the civil war of 49–45 bce , and dictator (46–44 bce ), who was launching a series of political and social reforms when he was assassinated by a group of nobles in the Senate House on the Ides of March . He is one of the major figures of Classical antiquity .

Caesar changed the course of the history of the Greco-Roman world decisively and irreversibly. The Greco-Roman society has been extinct for so long that most of the names of its great men mean little to the average, educated modern person. But Caesar’s name, like Alexander ’s, is still on people’s lips throughout the Christian and Islamic worlds. Even people who know nothing of Caesar as a historic personality are familiar with his family name as a title signifying a ruler who is in some sense uniquely supreme or paramount—the meaning of Kaiser in German, tsar in the Slavonic languages , and qayṣar in the languages of the Islamic world .

Caesar’s gens (clan) name, Julius (Iulius), is also familiar in the Christian world, for in Caesar’s lifetime the Roman month Quintilis, in which he was born, was renamed “ July ” in his honour. This name has survived, as has Caesar’s reform of the calendar . The old Roman calendar was inaccurate and manipulated for political purposes. Caesar’s calendar, the Julian calendar , is still partially in force in the Eastern Orthodox Christian countries, and the Gregorian calendar , now in use in the West, is the Julian, slightly corrected by Pope Gregory XIII .

Family background and career

Caesar’s gens, the Julii, were patricians —i.e., members of Rome ’s original aristocracy , which had coalesced in the 4th century bce with a number of leading plebeian (commoner) families to form the nobility that had been the governing class in Rome since then. By Caesar’s time, the number of surviving patrician gentes was small; and in the gens Julia the Caesares seem to have been the only surviving family. Though some of the most powerful noble families were patrician, patrician blood was no longer a political advantage; it was actually a handicap, since a patrician was debarred from holding the paraconstitutional but powerful office of tribune of the plebs. The Julii Caesares traced their lineage back to the goddess Venus , but the family was not snobbish or conservative-minded. It was also not rich or influential or even distinguished.

A Roman noble won distinction for himself and his family by securing election to a series of public offices, which culminated in the consulship , with the censorship possibly to follow. This was a difficult task for even the ablest and most gifted noble unless he was backed by substantial family wealth and influence. Rome’s victory over Carthage in the Second Punic War (218–201 bce ) had made Rome the paramount power in the Mediterranean basin; an influential Roman noble family’s clients (that is, protégés who, in return, gave their patrons their political support) might include kings and even whole nations, besides numerous private individuals. The requirements and the costs of a Roman political career in Caesar’s day were high, and the competition was severe; but the potential profits were of enormous magnitude. One of the perquisites of the praetorship and the consulship was the government of a province , which gave ample opportunity for plunder. The whole Mediterranean world was, in fact, at the mercy of the Roman nobility and of a new class of Roman businessmen, the equites (“knights”), which had grown rich on military contracts and on tax farming.

Military manpower was supplied by the Roman peasantry. This class had been partly dispossessed by an economic revolution following on the devastation caused by the Second Punic War. The Roman governing class had consequently come to be hated and discredited at home and abroad. From 133 bce onward there had been a series of alternate revolutionary and counter-revolutionary paroxysms . It was evident that the misgovernment of the Roman state and the Greco-Roman world by the Roman nobility could not continue indefinitely and it was fairly clear that the most probable alternative was some form of military dictatorship backed by dispossessed Italian peasants who had turned to long-term military service.

The traditional competition among members of the Roman nobility for office and the spoils of office was thus threatening to turn into a desperate race for seizing autocratic power. The Julii Caesares did not seem to be in the running. It was true that Sextus Caesar, who was perhaps the dictator’s uncle, had been one of the consuls for 91 bce ; and Lucius Caesar , one of the consuls for 90 bce , was a distant cousin, whose son and namesake was consul for 64 bce . In 90 bce , Rome’s Italian allies had seceded from Rome because of the Roman government’s obstinate refusal to grant them Roman citizenship, and, as consul, Lucius Caesar had introduced emergency legislation for granting citizenship to the citizens of all Italian ally states that had not taken up arms or that had returned to their allegiance .

Whoever had been consul in this critical year would have had to initiate such legislation, whatever his personal political predilections . There is evidence, however, that the Julii Caesares, though patricians, had already committed themselves to the antinobility party. An aunt of the future dictator had married Gaius Marius , a self-made man ( novus homo ) who had forced his way up to the summit by his military ability and had made the momentous innovation of recruiting his armies from the dispossessed peasants.

The date of Caesar the dictator’s birth has long been disputed. The day was July 12 or 13; the traditional (and perhaps most probable) year is 100 bce ; but if this date is correct, Caesar must have held each of his offices two years in advance of the legal minimum age. His father, Gaius Caesar , died when Caesar was but 16; his mother, Aurelia, was a notable woman, and it seems certain that he owed much to her.

In spite of the inadequacy of his resources, Caesar seems to have chosen a political career as a matter of course. From the beginning, he probably privately aimed at winning office, not just for the sake of the honours but in order to achieve the power to put the misgoverned Roman state and Greco-Roman world into better order in accordance with ideas of his own. It is improbable that Caesar deliberately sought monarchical power until after he had crossed the Rubicon in 49 bce , though sufficient power to impose his will, as he was determined to do, proved to mean monarchical power.

In 84 bce Caesar committed himself publicly to the radical side by marrying Cornelia, a daughter of Lucius Cornelius Cinna , a noble who was Marius’s associate in revolution. In 83 bce Lucius Cornelius Sulla returned to Italy from the East and led the successful counter-revolution of 83–82 bce ; Sulla then ordered Caesar to divorce Cornelia. Caesar refused and came close to losing not only his property (such as it was) but his life as well. He found it advisable to remove himself from Italy and to do military service, first in the province of Asia and then in Cilicia .

In 78 bce , after Sulla’s death, he returned to Rome and started on his political career in the conventional way, by acting as a prosecuting advocate—of course, in his case, against prominent Sullan counter-revolutionaries. His first target, Gnaeus Cornelius Dolabella, was defended by Quintus Hortensius , the leading advocate of the day, and was acquitted by the extortion-court jury, composed exclusively of senators.

Caesar then went to Rhodes to study oratory under a famous professor, Molon. En route he was captured by pirates (one of the symptoms of the anarchy into which the Roman nobility had allowed the Mediterranean world to fall). Caesar raised his ransom, raised a naval force , captured his captors, and had them crucified—all this as a private individual holding no public office. In 74 bce , when Mithradates VI Eupator , king of Pontus , renewed war on the Romans, Caesar raised a private army to combat him.

In his absence from Rome, Caesar was made a member of the politico-ecclesiastical college of pontifices ; and on his return he gained one of the elective military tribuneships. Caesar now worked to undo the Sullan constitution in cooperation with Pompey (Gnaeus Pompeius), who had started his career as a lieutenant of Sulla but had changed sides since Sulla’s death. In 69 or 68 bce Caesar was elected quaestor (the first rung on the Roman political ladder). In the same year his wife, Cornelia, and his aunt Julia, Marius’s widow, died. In public funeral orations in their honour, Caesar found opportunities for praising Cinna and Marius. Caesar afterward married Pompeia, a distant relative of Pompey. Caesar served his quaestorship in the province of Farther Spain (modern Andalusia and Portugal ).

Caesar was elected one of the curule aediles for 65 bce , and he celebrated his tenure of this office by unusually lavish expenditure with borrowed money. He was elected pontifex maximus in 63 bce by a political dodge. By now he had become a controversial political figure. After the suppression of Catiline’s conspiracy in 63 bce , Caesar, as well as the millionaire Marcus Licinius Crassus , was accused of complicity. It seems unlikely that either of them had committed himself to Catiline; but Caesar proposed in the Senate a more merciful alternative to the death penalty , which the consul Cicero was asking for the arrested conspirators. In the uproar in the Senate, Caesar’s motion was defeated.

Caesar was elected a praetor for 62 bce . Toward the end of the year of his praetorship, a scandal was caused by Publius Clodius in Caesar’s house at the celebration there of the rites , for women only, of Bona Dea (a Roman deity of fruitfulness, both in the Earth and in women). Caesar consequently divorced Pompeia. He obtained the governorship of Farther Spain for 61–60 bce . His creditors did not let him leave Rome until Crassus had gone bail for a quarter of his debts; but a military expedition beyond the northwest frontier of his province enabled Caesar to win loot for himself as well as for his soldiers, with a balance left over for the treasury. This partial financial recovery enabled him, after his return to Rome in 60 bce , to stand for the consulship for 59 bce .

Julius Caesar

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Though the play is titled The Tragedy of Julius Caesar , much of the play’s action follows the emotional conflict experienced by Brutus. To what extent can Brutus be considered the tragic hero of the play?

What role do omens and prophecies play in Julius Caesar ? What is the consequence of ignoring them?

Hubris, or excessive pride, is a tragic flaw exhibited by dramatic heroes dating back to antiquity. Caesar is proud to the point of arrogance and negligence. To what extent is pride responsible for his downfall?

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The Art and Challenge of Translating Shakespeare for Modern Audiences

This essay is about the complexities involved in translating Shakespeare’s works into modern languages. It highlights the challenges of preserving Shakespeare’s unique language, including his use of iambic pentameter, metaphors, and archaic expressions. The essay also discusses the importance of cultural context and the difficulties of translating Shakespeare’s inventive use of language, humor, and the multifaceted nature of his characters. Furthermore, it explores the translator’s role as both a faithful conduit and a creative artist. The essay underscores that translating Shakespeare is an interpretive act that requires a balance between fidelity to the original text and making it accessible to contemporary audiences, ensuring his legacy endures across cultures.

How it works

Translating Shakespeare’s works into modern languages is an endeavor that goes far beyond simple word substitution. It requires an intimate knowledge of the original Elizabethan English, an understanding of the historical and cultural context of the period, and a sensitivity to Shakespeare’s poetic style and intricate wordplay. This intricate process involves not only the translation of language but also the conveyance of the emotional and aesthetic impact of Shakespeare’s works to contemporary readers.

One of the most significant challenges in translating Shakespeare is preserving the unique qualities of his language.

His use of iambic pentameter, complex metaphors, and archaic expressions creates a distinctive rhythm and musicality. Direct, literal translations often fall short in conveying these qualities, forcing translators to make tough decisions about what to prioritize. Should the focus be on maintaining the poetic structure, even at the cost of altering the meaning slightly? Or is it more critical to preserve the exact meaning, even if the rhythm is lost? These decisions are further complicated by the fact that different languages have different poetic traditions and capabilities.

Cultural context is another critical aspect of translating Shakespeare. His plays are rich with references to the social, political, and religious milieu of 16th and 17th century England. These references can be obscure or completely unfamiliar to modern readers, particularly those from different cultural backgrounds. Translators must navigate whether to explain these references through footnotes, adapt them to more contemporary or culturally relevant equivalents, or leave them unchanged. Each approach has its benefits and drawbacks, and the best choice often depends on the target audience and the purpose of the translation.

For instance, in “Julius Caesar,” the historical and political nuances are deeply embedded in the original text. When translated into a different cultural context, these nuances may need to be explained or adapted. In some cases, the translator might choose to draw parallels with contemporary political events to make the play more relatable. However, this approach can be controversial as it introduces new interpretations that may diverge from the original text’s intent.

Shakespeare’s inventive use of language poses another significant challenge. He coined many new words and phrases, some of which have become integral to the English language. Translating these neologisms involves a delicate balance between fidelity to the original and creative adaptation. Should the translator create new words in the target language, potentially enriching it just as Shakespeare did with English? Or should they find existing words that approximate the meaning, sacrificing some of the originality and creativity? This dilemma highlights the broader issue of the translator’s role as both a faithful conduit and a creative artist.

The complexity of Shakespeare’s characters and themes also requires careful handling. His characters are often multi-dimensional, with dialogues rich in subtext and double meanings. Translating these layers of meaning necessitates a deep understanding of both the original text and the subtleties of the target language. The translator must be skilled in conveying the nuances of characterization and theme without losing the intricate details that make Shakespeare’s work so compelling.

Consider the character of Hamlet. His existential musings and philosophical depth present a formidable challenge for translators. The famous soliloquy “To be, or not to be” has been translated countless times, each version offering a slightly different interpretation. The translator’s choices in this passage can significantly affect how the character and his existential dilemma are perceived by the audience.

Humor in Shakespeare is another area fraught with challenges. Much of his humor relies on puns, wordplay, and cultural references that do not easily transfer to other languages. Translators must be inventive in finding equivalents that will resonate with the target audience while retaining the wit and charm of the original. This often requires a degree of adaptation, as some jokes simply do not have direct counterparts in other languages.

Ultimately, translating Shakespeare is an interpretive act. Every translation reflects the translator’s understanding and appreciation of the original work, as well as their decisions about how to balance fidelity and creativity. This interpretive nature means that each translation is, in a sense, a new work of art, offering a fresh perspective on Shakespeare’s timeless themes and stories.

The continued popularity of Shakespeare’s plays across different cultures and languages attests to their universal appeal. Yet, this very universality makes the task of translation both a privilege and a burden. Translators have the opportunity to introduce new audiences to the beauty and depth of Shakespeare’s work, but they also bear the responsibility of doing justice to his genius. It is this blend of challenge and reward that makes translating Shakespeare such a fascinating and demanding endeavor.

In addition to linguistic and cultural considerations, technological advancements have introduced new dimensions to the translation of Shakespeare’s works. Digital tools and software can assist in the translation process, offering insights into word usage and historical context. However, these tools are no substitute for the human touch. The nuanced understanding and creative decisions required in translating Shakespeare cannot be fully replicated by algorithms.

Furthermore, the rise of global communication and multimedia has opened new avenues for presenting Shakespeare in translation. Adaptations for film, television, and digital media often involve translating not just the language but also the visual and performative elements of the plays. These adaptations can bring Shakespeare’s works to life in ways that resonate with contemporary audiences, making his stories accessible to a broader audience.

In conclusion, translating Shakespeare’s works is a complex and nuanced process that extends beyond mere linguistic conversion. It requires a deep engagement with the original text and a thoughtful approach to conveying its many layers of meaning in another language. The translator must navigate the delicate balance between staying true to Shakespeare’s words and making them accessible and meaningful to contemporary audiences. This intricate dance of fidelity and creativity ensures that Shakespeare’s legacy continues to thrive in diverse linguistic and cultural landscapes, enriching the global appreciation of his timeless works.

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PapersOwl.com. (2024). The Art and Challenge of Translating Shakespeare for Modern Audiences . [Online]. Available at: https://papersowl.com/examples/the-art-and-challenge-of-translating-shakespeare-for-modern-audiences/ [Accessed: 30-Jun-2024]

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