The Tragedy of Julius Cæsar, more commonly known simply as Julius Caesar, is a tragedy by William Shakespeare written in 1599. It portrays the conspiracy against the Roman dictator, Julius Caesar,
his assassination and its aftermath. It is the first of his Roman plays, based on true events from Roman history. It is followed by Antony and Cleopatra.
Although the title of the play is "Julius Caesar", he is not the central character in the action of the play, appearing in
only three scenes and dying at the beginning of the third Act. The central protagonist of
the play is Marcus Brutus and the central psychological drama is his struggle
between the conflicting demands of honour, patriotism, and
friendship.
The play reflected the general anxiety of England due to worries over succession of
leadership. At the time of its creation and first performance, Queen Elizabeth, a
strong ruler, was elderly and had refused to name a successor, leading to worries that a civil
war similar to that of Rome's might break out after her death.
The play contains many elements from the Elizabethan period, making it
anachronistic. The characters mention objects such as hats, doublets (large, heavy jackets),
and cloaks - none of which existed in ancient Rome. Caesar is mentioned to be wearing an Elizabethan doublet instead of a Roman
toga.
Date and text
Allusions in three contemporaneous works support a date of pre-1599 for Julius
Caesar.[1]
- Ben Jonson's play Every Man Out of His
Humour (acted 1599, published 1600) paraphrases Shakespeare's line "O judgment, thou art fled to brutish beasts"
(Julius Caesar, III,ii,114) as "reason long since is fled to animals" in III,i. Jonson's play also includes "Et tu, Brute"
in V,iv.
- The anonymous play The Wisdom of Dr. Dodipoll (published in 1600) gives its own paraphrase, "Then reason's fled to
animals, I see."
- A passage in John Weever's Mirror of Martyrs, published in 1601, makes clear reference to the speeches of Brutus and
Mark Antony in Julius Caesar. John Weever stated that he'd written his poem two years
earlier, which (presumably) fixes the date as 1599.
Julius Caesar was first published in the First Folio in 1623, that text being the sole authority for the play. The
Folio text is notable for its quality and consistency; scholars judge it to have been set into type from a theatrical promptbook.
The play's source was Sir Thomas North's translation of Plutarch's Life of Brutus and Life of Caesar. [2]
Deviations From Plutarch
- Shakespeare makes Caesar's triumph take place on the day of Lupercalia instead of six months earlier
- For greater dramatic effect he has made the Capitol the venue of Caesar's death and
not Curia Pomperiana (Theatre of Pompey).
- Caesar's murder, the funeral, Antony's oration, the reading of the will and
Octavius' arrival all take place on the same day in the play. However, historically, the
assassination took place on March 15 (The ides of March), the will was published three
days later on March 18, the funeral took place on March 20
and Octavius arrived only in May.
- Shakespeare makes the Triumvirs meet
in Rome instead of near Bolonia, so as to avoid a third locale.
- He has combined the two Battles of Phillipi although there was a twenty day
interval between them.
- Shakespeare gives Caesar's last words as "Et tu, Brute? Then fall, Caesar!"
("And you, Brutus? Then fall, Caesar."). Plutarch says he said nothing, pulling his toga over
his head when he saw Brutus among the conspirators.[3].
However, Suetonius reports his last words, spoken in Greek, as "καί σύ τέκνον" (transliterated as "Kai su, teknon?"; "You too, child?" in
English).[4]
Shakespeare deviated from these historical facts in order to curtail time and compress the facts so that the play could be
staged without any kind of difficulty. The tragic force is condensed into a few scenes for the heightened effect.
Characters
- Julius Caesar
- Octavius Caesar, Marcus Antonius, M. Aemilius Lepidus: Triumvirs after the death of Julius Caesar
- Cicero, Publius, Popilius Lena: Senators
- Marcus Brutus, Cassius,
Casca, Trebonius, Ligarius, Decius Brutus, Metellus Cimber, Cinna: Conspirators against Julius Caesar
- Flavius and Marullus: Tribunes
- Artemidorus: a Sophist of Cnidos
- A Soothsayer (Also called Fortuneteller)
- Cinna: a poet, who is not related to the conspiracy
- Lucilius, Titinius, Messala, Young Cato, Volumnius: Friends to
Brutus and Cassius
- Varro, Clitus, Claudius, Strato, Lucius, Dardanius: Servants to Brutus
- Pindarus: Servant to Cassius
- Calpurnia: wife to Caesar
- Portia: wife to Brutus
Synopsis
Marcus Brutus is Caesar's close friend; his ancestors were famed for driving the
tyrannical King Tarquin from Rome (described in Shakespeare's earlier
The Rape of Lucrece). Brutus allows himself to be cajoled into joining a
group of conspiring senators because of a growing suspicion—implanted by Caius Cassius—that Caesar intends to turn republican Rome into a monarchy under his own rule. Traditional readings of the play maintain that Cassius and the other conspirators
are motivated largely by envy and ambition, whereas Brutus is
motivated by the demands of honour and patriotism; other
commentators, such as Isaac Asimov, suggest that the text shows Brutus is no less moved by
envy and flattery.[5] One of the central strengths of the
play is that it resists categorising its characters as either simple heroes or villains.
The early scenes deal mainly with Brutus' arguments with Cassius and his struggle with his own conscience. The growing tide of public support soon turns Brutus against Caesar (This public support was
actually faked. Cassius wrote letters to Brutus in different handwritings over the next month in order to get Brutus to join the
conspiracy). A soothsayer warns Caesar to "beware the Ides of March," which he ignores,
culminating in his assassination at the Capitol by the conspirators that day.
Caesar's assassination is perhaps the most famous part of the play, about halfway through. After ignoring the soothsayer as
well as his wife's own premonitions, Caesar comes to the Senate. The conspirators create a superficial motive for the
assassination by means of a petition brought by Metellus Cimber, pleading on behalf of his banished brother. As Caesar,
predictably, rejects the petition, Casca grazes Caesar in the back of his neck, and the others follow in stabbing him; Brutus is
last. At this point, Caesar utters the famous line "Et tu, Brute?" ("And you,
Brutus?", i.e. "You too, Brutus?"). Shakespeare has him add, "Then fall, Caesar," suggesting that Caesar did not want to
survive such treachery. The conspirators make clear that they did this act for Rome, not for their own purposes and do not
attempt to flee the scene but act victorious.
After Caesar's death, however, Mark Antony, with a subtle and eloquent speech over
Caesar's corpse—the much-quoted Friends, Romans, countrymen,
lend me your ears...—deftly turns public opinion against the assassins by
manipulating the emotions of the common people, in contrast to the rational tone of Brutus's
speech. Antony rouses the mob to drive the conspirators from Rome. Amid the violence, the innocent
poet, Cinna, is confused with the conspirator Cinna and is
murdered by the mob.
The beginning of Act Four is marked by the quarrel scene, where Brutus attacks Cassius for soiling the noble act of
regicide by accepting bribes ("Did not great Julius bleed for justice' sake? / What villain
touch'd his body, that did stab, / And not for justice?", IV.iii,19-21). The two are reconciled, but as they prepare for war with
Mark Antony and Caesar's adopted son, Octavian (Shakespeare's spelling: Octavius), Caesar's
ghost appears to Brutus with a warning of defeat ("thou shalt see me at Philippi", IV.iii,283). Events go badly for the
conspirators during the battle; both Brutus and Cassius choose to commit suicide rather than to be captured. The play ends with a
tribute to Brutus by Antony, who has remained "the noblest Roman of them all" (V.v,68) and hints at the friction between Mark
Antony and Octavius which will characterise another of Shakespeare's Roman plays, Antony and Cleopatra.
Performance history
The play was performed in the Globe Theatre.
Thomas Patter, a Swiss traveller, saw a tragedy about Julius Caesar at a Bankside theatre on September 21, 1599. This was most likely Shakespeare's play. There is no
immediately obvious alternative candidate. (While the story of Julius Caesar was dramatized repeatedly in the
Elizabethan/Jacobean period, none of the other plays known are as good a match with Patter's description as Shakespeare's
play.)[6]
After the theatres re-opened at the start of the Restoration era, the play was
revived by Thomas Killigrew's King's Company in
1672. Charles Hart initially played
Brutus, as did Thomas Betterton in later productions. Julius Caesar was one of
the very few Shakespearean plays that was not adapted during the Restoration period or the eighteenth century.[7]
Notable performances
Stage performances
John Wilkes Booth, Edwin Booth and Junius Brutus Booth, Jr. in
Shakespeare’s
Julius
Caesar in 1864.
- 1864: Junius, Jr., Edwin and John Wilkes Booth
made their only appearance onstage together in a benefit performance of Julius Caesar on November 25, 1864. Junius,
Jr. played Cassius, Edwin played Brutus and John
Wilkes played Marc Antony.
- 1926: By far the most elaborate performance of the play was staged as a benefit for the
Actors' Fund of America at the Hollywood Bowl.
Caesar arrived for the Lupercal in a chariot drawn by four white horses. The stage was the size
of a city block and dominated by a central tower eighty feet in height. The event was mainly aimed at creating work for
unemployed actors. Three hundred gladiators
appeared in an arena scene not featured in Shakespeare's play; a similar number of girls danced as Caesar's captives; a total of
three thousand soldiers took part in the battle sequences.
- 1937: Orson Welles' famous production at the
Mercury Theatre drew fervoured comment as the director dressed his protagonists in
uniforms reminiscent of those common at the time in Fascist Italy
and Nazi Germany, as well as drawing a specific analogy between
Caesar and Mussolini. Opinions vary on the artistic value of the resulting
production: some see Welles' mercilessly pared-down script (the running time was around 90 minutes without an interval, several
characters were eliminated, dialogue was moved around and borrowed from other plays, and the final two acts were reduced to a
single scene) as a radical and innovative way of cutting away the unnecessary elements of Shakespeare's tale; others thought
Welles' version was a mangled and lobotomised version of Shakespeare's tragedy which lacked the psychological depth of the
original. Most agreed that the production owed more to Welles than it did to Shakespeare. However, Welles's innovations have been
echoed in many subsequent modern productions, which have seen parallels between Caesar's fall and the downfalls of various
governments in the twentieth century. The production was most noted for its portrayal of the slaughter of Cinna (Norman Lloyd). It is the longest-running Broadway production at
157 performances.
- 1950: John Gielgud played Cassius at the Shakespeare Memorial Theatre under the direction of Michael
Langham and Anthony Quayle. The production was considered one of the highlights of
a remarkable Stratford season, and led to Gielgud (who had done little film work to that time) playing Cassius in Joseph L. Mankiewicz' 1953 film version.
- 1977: John Gielgud made his final appearance in a
Shakespearean role on stage as Julius Caesar
in John Schlesinger's production at the Royal
National Theatre.
- 2005: Denzel Washington played Brutus in the first
Broadway production of the play in over fifty years. The production received
universally terrible reviews, but was a sell-out because of Washington's popularity at
the box office.
Screen Performances
- See also Shakespeare on screen (Julius Caesar)
Adaptations and cultural references
The Canadian comedy duo Wayne and Shuster parodied
Julius Caesar in their 1958 sketch Rinse the Blood off My Toga. Flavius Maximus,
Private Roman I, is hired by Brutus to investigate the death of Caesar. The police procedural combines Shakespeare,
Dragnet, and vaudeville jokes and was first broadcast on the Ed Sullivan Show. [8]
In 1973 the BBC made a television play Heil Caesar, written by John Bowen, an adaptation of the play put into a modern setting. [9]
In 2006, Chris Taylor from the Australian comedy team "The Chaser" wrote a comedy musical called "Dead Caesar" which was shown in at the Sydney Theatre Company in
Sydney.
In the popular Channel 4 sitcom 'Green Wing', Guy Secretan expresses his feelings of betrayal by saying, 'Et tu Caroline?' a
reflection of Caesar's dying words, 'Et tu Brute?'
See also
External links
Wikiquote has a collection of quotations related to:
References
- ^ F. E. Halliday, Shakespeare Companion, pp. 159, 260, 524, 533.
- ^ North's Plutarch Parallel Lives
- ^ Plutarch, Caesar 66.9
- ^ Suetonius, Julius 82.2
- ^ Asimov's Guide to
Shakespeare, Vols. I and II (1970), ISBN 0-517-26825-6, 1970
- ^ Richard Edes's Latin play Caesar Interfectus (1582?) would not
qualify. The Admiral's Men had an anonymous Caesar and Pompey in their repertory in
1594–5, and another play, Caesar's Fall, or the Two Shapes, written by Thomas
Dekker, Michael Drayton, Thomas
Middleton, Anthony Munday, and John Webster,
in 1601-2, too late for Patter's reference. Neither play has survived. The anonymous Caesar's Revenge dates to 1606, while
George Chapman's Caesar and Pompey dates from ca. 1613. E. K. Chambers,
Elizabethan Stage, Vol. 2, p. 179; Vol. 3, pp. 259, 309; Vol. 4, p. 4.
- ^ Halliday, p. 261.
- ^ Rinse the Blood
Off My Toga
- ^ http://www.screenonline.org.uk/tv/id/566329/index.html
- Chambers, E. K. The Elizabethan Stage. 4 Volumes, Oxford, Clarendon
Press, 1923.
- Halliday, F. E. A Shakespeare Companion 1564–1964. Balyimore, Penguin, 1964.
This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)
