Analysis of Major Characters

Brutus Brutus emerges as the most complex character in Julius Caesar and is also the plays tragic hero. In his soliloquies, the audience gains insight into the complexities of his motives. He is a powerful public figure, but he appears also as a husband, a master to his servants, a dignified military leader, and a loving friend. The conflicting value systems that battle with each other in the play as a whole are enacted on a microcosmic level in Brutuss mind. Even after Brutus has committed the assassination with the other members of the conspiracy, questions remain as to whether, in light of his friendship with Caesar, the murder was a noble, decidedly selfless act or proof of a truly evil callousness, a gross indifference to the ties of friendship and a failure to be moved by the power of a truly great man. Brutuss rigid idealism is both his greatest virtue and his most deadly flaw. In the world of the play, where self-serving ambition seems to dominate all other motivations, Brutus lives up to Antonys elegiac description of him as the noblest of Romans. However, his commitment to principle repeatedly leads him to make miscalculations: wanting to curtail violence, he ignores Cassiuss suggestion that the conspirators kill Antony as well as Caesar. In another moment of nave idealism, he again ignores Cassiuss advice and allows Antony to speak a funeral oration over Caesars body. As a result, Brutus forfeits the authority of having the last word on the murder and thus allows Antony to incite the plebeians to riot against him and the other conspirators. Brutus later endangers his good relationship with Cassius by self-righteously condemning what he sees as dishonorable fund-raising tactics on Cassiuss part. In all of these episodes, Brutus acts out of a desire to limit the self-serving aspects of his actions; ironically, however, in each incident he dooms the very cause that he seeks to promote, thus serving no one at all. Julius Caesar The conspirators charge Caesar with ambition, and his behavior substantiates this judgment: he does vie for absolute power over Rome, reveling in the homage he receives from others and in his conception of himself as a figure who will live on forever in mens minds. However, his faith in his own permanencein the sense of both his loyalty to principles and his fixture as a public institutioneventually proves his undoing. At first, he stubbornly refuses to heed the nightmares of his wife, Calpurnia, and the supernatural omens pervading the atmosphere. Though he is eventually persuaded not to go to the Senate, Caesar ultimately lets his ambition get the better of him, as the prospect of being crowned king proves too glorious to resist. Caesars conflation of his public image with his private self helps bring about his death, since he mistakenly believes that the immortal status granted to his public self somehow protects his mortal body. Still, in many ways, Caesars faith that he is eternal proves valid by the end of the play: by Act V, scene iii, Brutus is attributing his and Cassiuss misfortunes to Caesars power reaching from beyond the grave. Caesars aura seems to

affect the general outcome of events in a mystic manner, while also inspiring Octavius and Antony and strengthening their determination. As Octavius ultimately assumes the title Caesar, Caesars permanence is indeed established in some respect. Antony Antony proves strong in all of the ways that Brutus proves weak. His impulsive, improvisatory nature serves him perfectly, first to persuade the conspirators that he is on their side, thus gaining their leniency, and then to persuade the plebeians of the conspirators injustice, thus gaining the masses political support. Not too scrupulous to stoop to deceit and duplicity, as Brutus claims to be, Antony proves himself a consummate politician, using gestures and skilled rhetoric to his advantage. He responds to subtle cues among both his nemeses and his allies to know exactly how he must conduct himself at each particular moment in order to gain the most advantage. In both his eulogy for Caesar and the play as a whole, Antony is adept at tailoring his words and actions to his audiences desires. Unlike Brutus, who prides himself on acting solely with respect to virtue and blinding himself to his personal concerns, Antony never separates his private affairs from his public actions.

Themes, Motifs & Symbols

Themes Themes are the fundamental and often universal ideas explored in a literary work.

Fate versus Free Will

Julius Caesar raises many questions about the force of fate in life versus the capacity for free will. Cassius refuses to accept Caesars rising power and deems a belief in fate to be nothing more than a form of passivity or cowardice. He says to Brutus: Men at sometime were masters of their fates. / The fault, dear Brutus, is not in our stars, / But in ourselves, that we are underlings (I.ii.140142). Cassius urges a return to a more noble, self-possessed attitude toward life, blaming his and Brutuss submissive stance not on a predestined plan but on their failure to assert themselves.

Ultimately, the play seems to support a philosophy in which fate and freedom maintain a delicate coexistence. Thus Caesar declares: It seems to me most strange that men should fear, / Seeing that death, a necessary end, / Will come when it will come (II.ii.3537). In other words, Caesar recognizes that certain events lie beyond human control; to crouch in fear of them is to enter a paralysis equal to, if not worse than, death. It is to surrender any capacity for freedom and agency that one might actually possess. Indeed, perhaps to face death head-on, to die bravely and honorably, is Caesars best course: in the end, Brutus interprets his and Cassiuss defeat as the work of Caesars ghostnot just his apparition,

but also the force of the peoples devotion to him, the strong legacy of a man who refused any fear of fate and, in his disregard of fate, seems to have transcended it.

Public Self versus Private Self

Much of the plays tragedy stems from the characters neglect of private feelings and loyalties in favor of what they believe to be the public good. Similarly, characters confuse their private selves with their public selves, hardening and dehumanizing themselves or transforming themselves into ruthless political machines. Brutus rebuffs his wife, Portia, when she pleads with him to confide in her; believing himself to be acting on the peoples will, he forges ahead with the murder of Caesar, despite their close friendship. Brutus puts aside his personal loyalties and shuns thoughts of Caesar the man, his friend; instead, he acts on what he believes to be the publics wishes and kills Caesar the leader, the imminent dictator. Cassius can be seen as a man who has gone to the extreme in cultivating his public persona. Caesar, describing his distrust of Cassius, tells Antony that the problem with Cassius is his lack of a private lifehis seeming refusal to acknowledge his own sensibilities or to nurture his own spirit. Such a man, Caesar fears, will let nothing interfere with his ambition. Indeed, Cassius lacks all sense of personal honor and shows himself to be a ruthless schemer. Ultimately, neglecting private sentiments to follow public concerns brings Caesar to his death. Although Caesar does briefly agree to stay home from the Senate in order to please Calpurnia, who has dreamed of his murder, he gives way to ambition when Decius tells him that the senators plan to offer him the crown. -Caesars public self again takes precedence. Tragically, he no longer sees the difference between his omnipotent, immortal public image and his vulnerable human body. Just preceding his death, Caesar refuses Artemidoruss pleas to speak with him, saying that he gives last priority to his most personal concerns. He thus endangers himself by believing that the strength of his public self will protect his private self.

Misinterpretations and Misreadings

Much of the play deals with the characters failures to interpret correctly the omens that they encounter. As Cicero says, Men may construe things after their fashion, / Clean from the purpose of the things themselves (I.iii.3435). Thus, the night preceding Caesars appearance at the Senate is full of portents, but no one reads them accurately: Cassius takes them to signify the danger that Caesars impending coronation would bring to the state, when, if anything, they warn of the destruction that Cassius himself threatens. There are calculated misreadings as well: Cassius manipulates Brutus into joining the conspiracy by means of forged letters, knowing that Brutuss trusting nature will cause him to accept the letters as authentic pleas from the Roman people. The circumstances of Cassiuss death represent another instance of misinterpretation. Pindaruss erroneous conclusion that Titinius has been captured by the enemy, when in fact Titinius has reunited with friendly forces, is the piece of misinformation that prompts Cassius to seek death. Thus, in the world of politics portrayed in Julius Caesar, the

inability to read people and events leads to downfall; conversely, the ability to do so is the key to survival. With so much ambition and rivalry, the ability to gauge the publics opinion as well as the resentment or loyalty of ones fellow politicians can guide one to success. Antony proves masterful at recognizing his situation, and his accurate reading of the crowds emotions during his funeral oration for Caesar allows him to win the masses over to his side.

Inflexibility versus Compromise

Both Brutus and Caesar are stubborn, rather inflexible people who ultimately suffer fatally for it. In the plays aggressive political landscape, individuals succeed through adaptability, bargaining, and compromise. Brutuss rigid though honorable ideals leave him open for manipulation by Cassius. He believes so thoroughly in the purpose of the assassination that he does not perceive the need for excessive political maneuvering to justify the murder. Equally resolute, Caesar prides himself on his steadfastness; yet this constancy helps bring about his death, as he refuses to heed ill omens and goes willingly to the Senate, into the hands of his murderers. Antony proves perhaps the most adaptable of all of the politicians: while his speech to the Roman citizens centers on Caesars generosity toward each citizen, he later searches for ways to turn these funds into cash in order to raise an army against Brutus and Cassius. Although he gains power by offering to honor Caesars will and provide the citizens their rightful money, it becomes clear that ethical concerns will not prevent him from using the funds in a more politically expedient manner. Antony is a successful politicianyet the question of morality remains. There seems to be no way to reconcile firm moral principles with success in politics in Shakespeares rendition of ancient Rome; thus each character struggles toward a different solution.

Rhetoric and Power

Julius Caesar gives detailed consideration to the relationship between rhetoric and power. The ability to make things happen by words alone is the most powerful type of authority. Early in the play, it is established that Caesar has this type of absolute authority: When Caesar says Do this, it is performed, says Antony, who attaches a similar weight to Octaviuss words toward the end of the play (I.ii.12). Words also serve to move hearts and minds, as Act III evidences. Antony cleverly convinces the conspirators of his desire to side with them: Let each man render me with his bloody hand (III.i.185). Under the guise of a gesture of friendship, Antony actually marks the conspirators for vengeance. In the Forum, Brutus speaks to the crowd and appeals to its love of liberty in order to justify the killing of Caesar. He also makes ample reference to the honor in which he is generally esteemed so as to validate further his explanation of the deed. Antony likewise wins the crowds favor, using persuasive rhetoric to whip the masses into a frenzy so great that they dont even realize the fickleness of their favor. Motifs

Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the texts 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 Caesars death, each time an omen or nightmare is reported, the audience is reminded of Caesars 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 ones 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.

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.

Plot Overview

T wo tribunes, Flavius and Murellus, find scores of Roman citizens wandering the streets, neglecting their work in order to watch Julius Caesars triumphal parade: Caesar has defeated the sons of the deceased Roman general Pompey, his archrival, in battle. The tribunes scold the citizens for abandoning their duties and remove decorations from Caesars statues. Caesar enters with his entourage, including the military and political figures Brutus, Cassius, and Antony. A Soothsayer calls out to Caesar to beware the Ides of March, but Caesar ignores him and proceeds with his victory celebration (I.ii.19, I.ii.25).

Cassius and Brutus, both longtime intimates of Caesar and each other, converse. Cassius tells Brutus that he has seemed distant lately; Brutus replies that he has been at war with himself. Cassius states that he wishes Brutus could see himself as others see him, for then Brutus would realize how honored and respected he is. Brutus says that he fears that the people want Caesar to become king, which would overturn the republic. Cassius concurs that Caesar is treated like a god though he is merely a man, no better than Brutus or Cassius. Cassius recalls incidents of Caesars physical weakness and marvels that this fallible man has become so powerful. He blames his and Brutuss lack of will for allowing Caesars rise to power: surely the rise of such a man cannot be the work of fate. Brutus considers Cassiuss words as Caesar returns. Upon seeing Cassius, Caesar tells Antony that he deeply distrusts Cassius. Caesar departs, and another politician, Casca, tells Brutus and Cassius that, during the celebration, Antony offered the crown to Caesar three times and the people cheered, but Caesar refused it each time. He reports that Caesar then fell to the ground and had some kind of seizure before the crowd; his demonstration of weakness, however, did not alter the plebeians devotion to him. Brutus goes home to consider Cassiuss words regarding Caesars poor qualifications to rule, while Cassius hatches a plot to draw Brutus into a conspiracy against Caesar. That night, Rome is plagued with violent weather and a variety of bad omens and portents. Brutus finds letters in his house apparently written by Roman citizens worried that Caesar has become too powerful. The letters have in fact been forged and planted by Cassius, who knows that if Brutus believes it is the peoples will, he will support a plot to remove Caesar from power. A committed supporter of the republic, Brutus fears the possibility of a dictator-led empire, worrying that the populace would lose its voice. Cassius arrives at Brutuss home with his conspirators, and Brutus, who has already been won over by the letters, takes control of the meeting. The men agree to lure Caesar from his house and kill him. Cassius wants to kill Antony too, for Antony will surely try to hinder their plans, but Brutus disagrees, believing that too many deaths will render their plot too bloody and dishonor them. Having agreed to spare Antony, the conspirators depart. Portia, Brutuss wife, observes that Brutus appears preoccupied. She pleads with him to confide in her, but he rebuffs her.

Caesar prepares to go to the Senate. His wife, Calpurnia, begs him not to go, describing recent nightmares she has had in which a statue of Caesar streamed with blood and smiling men bathed their hands in the blood. Caesar refuses to yield to fear and insists on going about his daily business. Finally, Calpurnia convinces him to stay homeif not out of caution, then as a favor to her. But Decius, one of the conspirators, then arrives and convinces Caesar that Calpurnia has misinterpreted her dreams and the recent omens. Caesar departs for the Senate in the company of the conspirators. As Caesar proceeds through the streets toward the Senate, the Soothsayer again tries but fails to get his attention. The citizen Artemidorus hands him a letter warning him about the conspirators, but Caesar refuses to read it, saying that his closest personal concerns are his last priority. At the Senate, the conspirators speak to Caesar, bowing at his feet and encircling him. One by one, they stab him to death. When Caesar sees his dear friend Brutus among his murderers, he gives up his struggle and dies. The murderers bathe their hands and swords in Caesars blood, thus bringing Calpurnias premonition to fruition. Antony, having been led away on a false pretext, returns and pledges allegiance to Brutus but weeps over Caesars body. He shakes hands with the conspirators, thus marking them all as guilty while appearing to make a gesture of conciliation. When Antony asks why they killed Caesar, Brutus replies that he will explain their purpose in a funeral oration. Antony asks to be allowed to speak over the body as well; Brutus grants his permission, though Cassius remains suspicious of Antony. The conspirators depart, and Antony, alone now, swears that Caesars death shall be avenged. Brutus and Cassius go to the Forum to speak to the public. Cassius exits to address another part of the crowd. Brutus declares to the masses that though he loved Caesar, he loves Rome more, and Caesars ambition posed a danger to Roman liberty. The speech placates the crowd. Antony appears with Caesars body, and Brutus departs after turning the pulpit over to Antony. Repeatedly referring to Brutus as an honorable man, Antonys speech becomes increasingly sarcastic; questioning the claims that Brutus made in his speech that Caesar acted only out of ambition, Antony points out that Caesar brought much wealth and glory to Rome, and three times turned down offers of the crown. Antony then produces Caesars will but announces that he will not read it for it would upset the people inordinately. The crowd nevertheless begs him to read the will, so he descends from the pulpit to stand next to Caesars body. He describes Caesars horrible death and shows Caesars wounded body to the crowd. He then reads Caesars will, which bequeaths a sum of money to every citizen and orders that his private gardens be made public. The crowd becomes enraged that this generous man lies dead; calling Brutus and Cassius traitors, the masses set off to drive them from the city. Meanwhile, Caesars adopted son and appointed successor, Octavius, arrives in Rome and forms a three-person coalition with Antony and Lepidus. They prepare to fight Cassius and Brutus, who have been driven into exile and are raising armies outside the city. At the conspirators camp, Brutus and Cassius have a heated argument regarding matters of money and honor, but they ultimately reconcile. Brutus reveals that he is sick

with grief, for in his absence Portia has killed herself. The two continue to prepare for battle with Antony and Octavius. That night, the Ghost of Caesar appears to Brutus, announcing that Brutus will meet him again on the battlefield. Octavius and Antony march their army toward Brutus and Cassius. Antony tells Octavius where to attack, but Octavius says that he will make his own orders; he is already asserting his authority as the heir of Caesar and the next ruler of Rome. The opposing generals meet on the battlefield and exchange insults before beginning combat. Cassius witnesses his own men fleeing and hears that Brutuss men are not performing effectively. Cassius sends one of his men, Pindarus, to see how matters are progressing. From afar, Pindarus sees one of their leaders, Cassiuss best friend, Titinius, being surrounded by cheering troops and concludes that he has been captured. Cassius despairs and orders Pindarus to kill him with his own sword. He dies proclaiming that Caesar is avenged. Titinius himself then arrivesthe men encircling him were actually his comrades, cheering a victory he had earned. Titinius sees Cassiuss corpse and, mourning the death of his friend, kills himself. Brutus learns of the deaths of Cassius and Titinius with a heavy heart, and prepares to take on the Romans again. When his army loses, doom appears imminent. Brutus asks one of his men to hold his sword while he impales himself on it. Finally, Caesar can rest satisfied, he says as he dies. Octavius and Antony arrive. Antony speaks over Brutuss body, calling him the noblest Roman of all. While the other conspirators acted out of envy and ambition, he observes, Brutus genuinely believed that he acted for the benefit of Rome. Octavius orders that Brutus be buried in the most honorable way. The men then depart to celebrate their victory.