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    Julius Caesar William Shakespeare

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    Ionut Mladin
    William Shakespeare wrote the tragedy Julius Caesar in 1598. In the play, Mark Antony gives a famous speech after Caesar's assassination in which he uses rhetorical techniques to turn the Roman citizens against the conspirators Brutus and Cassius. Shakespeare often depicts the violation or loss of social roles in his tragedies, but also their restoration, as deceitful masters who thrive on disorder are exposed. In Julius Caesar, order is restored as Antony convinces the citizens of the real traitors through his moving speech.

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    Julius Caesar William Shakespeare

    Uploaded by

    Ionut Mladin
    39 views3 pages
    William Shakespeare wrote the tragedy Julius Caesar in 1598. In the play, Mark Antony gives a famous speech after Caesar's assassination in which he uses rhetorical techniques to turn the Roman citizens against the conspirators Brutus and Cassius. Shakespeare often depicts the violation or loss of social roles in his tragedies, but also their restoration, as deceitful masters who thrive on disorder are exposed. In Julius Caesar, order is restored as Antony convinces the citizens of the real traitors through his moving speech.

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    William Shakespeare wrote the tragedy Julius Caesar in 1598. In the play, Mark Antony gives a famous speech after Caesar's assassination in which he uses rhetorical techniques to turn the Roman citizens against the conspirators Brutus and Cassius. Shakespeare often depicts the violation or loss of social roles in his tragedies, but also their restoration, as deceitful masters who thrive on disorder are exposed. In Julius Caesar, order is restored as Antony convinces the citizens of the real traitors through his moving speech.

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    Attribution Non-Commercial (BY-NC)
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    39 views3 pages

    Julius Caesar William Shakespeare

    Uploaded by

    Ionut Mladin
    William Shakespeare wrote the tragedy Julius Caesar in 1598. In the play, Mark Antony gives a famous speech after Caesar's assassination in which he uses rhetorical techniques to turn the Roman citizens against the conspirators Brutus and Cassius. Shakespeare often depicts the violation or loss of social roles in his tragedies, but also their restoration, as deceitful masters who thrive on disorder are exposed. In Julius Caesar, order is restored as Antony convinces the citizens of the real traitors through his moving speech.

    Copyright:

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    William Shakespeare

    The Tragedy Of Julius Caesar


    William Shakespeare
    In 1598, Francis Meres described Shakespeare as the most
    excellent in both sides - comedy and traedy!" #is comedies are
    $ns$rpassed %or the mar&ello$s harmony they establish amon so
    many apparently discordant elements" #is traedies, rihtly
    interpreted, do not re&eal a spirit o% loom and disill$sionment" 'et,
    i% (e ponder care%$lly, (hile the themes o% Shakespeare)s traedies
    are indeed dark and dismal, the messae that they impart is that, no
    matter ho( deep the mis%ort$ne or ho( dreary the circ$mstances,
    man is capable o% risin %rom his o(n ashes, like *hoenix+ think o%
    ,ichard II, #enry -, .in /ear, or *rospero" 0ood (ill tri$mph o&er
    e&il, in the end+ think o% #amlet, Macbeth, 1$li$s 2aesar"
    3s the theme and messae in Shakespeare)s comedies, they
    can be s$mmed $p in t(o lines %rom As You Like It4
    3ll the (orld)s a stae,
    3nd all the men and (omen merely players!
    In his comedies, 5$st as in real li%e, the protaonists play
    di%%erent parts in the little playlets they ha&e themsel&es impro&ised
    in order to et (hat they desire" 6o one is h$rt, no one is denied the
    opport$nity to 5oin in the ame, no one is le%t o$t" /i%e is a merry-o-
    ro$nd and each indi&id$al may et o%% the plat%orm as soon as he no
    loner en5oys the ame" 3s lon as all ends (ell7
    3ll Sam$el 8aylor 2oleride maintained, Shakespeare (as
    more interested in character-de&elopment than in his plots" 9esides,
    in most cases, he did not in&ent the plots, he merely borro(ed them
    %rom #olinshed and #all 2hronicles" 'et, his plots %ollo( the
    classical 3ristotelian o$tlines"
    :% Shakespeare)s traic characters, Mark 3ntony is ;$ite
    o$tstandin in point o% &ersatility" #e does not exactly %it the
    3ristotelian description o% the traic hero" #e is reliable and
    *aina 1
    William Shakespeare
    tr$st(orthy %riend, a hihly intellient and tact%$l man, a ood
    psycholoist, a skil%$l orator" 3nalysin 3ntony)s %amo$s speech o%
    act <, scene =, (e admire its $ncanny rhetorical e%%ects and the most
    pers$asi&e $se o% the emotional appeal that assist him in
    disentanlin the tr$th %rom the pack o% lies concernin 1$li$s 2aesar
    that 9r$t$s had 5$st told the ,oman citi>ens" 9y $sin the apophatic
    approach ?the de&ice by (hich one mentions somethin by sayin it
    (ill not be mentioned4 I come to bury Caesar, not to praise him,
    and I speak not to disprove what Brutus spoke@, 3ntony manaes
    to do 5$st (hat he (as not expected or allo(ed to do4 praise 2aesar
    and dispro&e (hat 9r$t$s spoke"
    In a society like Shakespeare)s, (hich %elt sec$re abo$t (hat
    constit$ted proper beha&io$r, social, political and %amilial roles (ere
    basic so$rces o% order and $ntro$bled adherence to them symbolised
    the contin$ed existence o% order" What Shakespeare presents in
    Julius Caesar and in other traedies as omeo and Juliet,
    !amlet, "thello, #in$ Lear, %acbeth is not $ntro$bled
    adherence to the roles o% his type b$t, rather, their constant &iolation
    or loss as (ell as the s$bse;$ent restoration o% order, as the masters
    o% deceit (ho had thri&ed on disorder are exposed and destroyed"
    3ntony speech mo&es coherently %rom one idea to another,
    %rom one imae to another, as he places the ,oman citi>ens in
    relation to reality and %orces them to identi%y the real traitor" 8h$s,
    order is bein restored and, as Adm$nd remarks in #in$ Lear4
    &he wheel is come 'ull circle"
    Style and imagery:
    In ,enaissance literat$re the idea that the poet, inso%ar as he
    creates a (orld o% his o(n, can be compared (ith 0od, Who created
    the (orld, (as already a commonplace by Shakespeare)s time" 8he
    %act that St" 3$$stine compared the (orld (ith a poem and a
    disco$rse (as cr$cial %or the (ay in (hich the ,enaissance (riters
    concei&ed o% style and imaery"
    *aina =
    William Shakespeare
    8he de&elopment o% poetic lan$ae, o% style and imaery,
    (as the main concern o% 1B
    th
    cent$ry ,enaissance (riters (ho
    probed the nat$re o% lan$ae and its inredients as (ell as potential
    relationships bet(een (ords and reality ?brutish beasts is
    intentionally $sed by 3ntony in his speech in order to imply that, by
    m$rderin 2aesar, 9r$t$s acted like a br$te@, bet(een (ords and
    sins as containers o% meanins"
    Shakespeare)s preocc$pation (ith lan$ae (as not con%ined
    to (ords as rhetorical ornaments o% tho$ht b$t, rather, re%lects the
    belie% in the maic o% lan$ae that thri&es on an inter-re%erentiality
    amon (ords, concepts, and thins ?the (ord 9r$t$s!, the concept
    o% br$tishness, and the br$tish thin that 9r$t$s did, i"e" 2aesar
    assassination@"
    *aina <

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