Julius Caesar

1. Julius Caesar Finding irony, inconsistencies, imagery, foreshadowing, themes and all that jazz

2. Play�s structure Exposition or introduction: Establishes tone, setting, some of the main characters, previous events necessary for understanding the play�s action, and the main conflict, or problem.

3. Play�s structure Rising Action: Is a series of complications besetting the protagonist that arise when the protagonist takes action to resolve his or her main conflict

4. Play�s structure Falling action: presents the incidents resulting from the protagonist�s decision at the turning point. In tragedy these incidents necessarily emphasize the play�s destructive forces but often include an episode of possible salvation, as well as comic scenes. These are the playwright�s means of maintaining suspense and relieving the tension as the catastrophe approaches.

5. Play�s structure Resolution or denouement: Is the conclusion of the play, the unraveling of the plot, which in tragedy includes the catastrophe of the hero�s and others� deaths. The climax or emotional peak, usually occurs right before the denouement (the final outcome of a series of dramatic events.

6. Characterization

7. Protagonist Although the play is entitled Julius Caesar, one can say that Brutus is the main character in the story because he comes closest to an Aristotelian tragic hero. If protagonist is taken in its general sense, as the character who drives the action, Julius Caesar has more than one protagonist. Brutus and Cassius drive the action until Antony�s oration, after which Antony emerges as the protagonist.

8. Antagonist The antagonist of the story are Caesar, Antony and Octavius because they try to fight the forces that drive the story.

9. The tragic hero A tragic hero is the main character of a tragedy, a play in which the hero comes to an unhappy end. A tragic hero is usually dignified, courageous, and high ranking. The hero�s downfall is caused by a tragic flaw (character weakness) or by forces beyond his or her control. Such a hero usually wins some self-knowledge and wisdom, despite defeat or even death.

10. A tragic hero Does Julius Caesar have a tragic hero? Is the main character Shows evidence of high rank Shows nobility of character Is marred by tragic flaw or fatal mistake in judgment Gains self knowledge and wisdom Comes to an unhappy end

11. A tragic hero Julius Caesar could be considered the main character because all the events are related to the assasination. Brutus because there would be no assassination without him

12. A tragic hero Both show evidence of high rank because Caesar rules Rome, while Brutus is called noble by all. Nobility of character: Caesar remembers people in his will, while Brutus allows Antony to speak at the funeral

13. A tragic hero Marred by tragic flaw or fatal mistake in judgement: Caesar is too proud to take advice to stay home; Brutus lets others convince him of the need to kill Caesar Gains self knowledge and wisdom Caesar does not, while Brutus repents for killing Caesar

14. A tragic hero Comes to an unhappy end Caesar is killed Brutus commits suicide

15. A tragic hero NO character in Julius Caesar has the Aristotelian purity of a tragic hero such as Oedipus, but Brutus certainly exhibits some of the characteristics: He is noble, honorable in intent, flawed, and doomed through his own character and actions. Caesar may more nearly fit the role theoretically but not dramatically. The play does not show Caesar behaving like the tragic hero.

16. Brutus Brutus makes two mistakes�one in Act II and one in Act III�that stem from his idealized vision of the assassination and his self-image as an �honorable man.� What are these errors, and how do they lead to Brutus�s downfall?

17. Brutus Answer: In Act II, Brutus spares Antony. In Act III, Brutus allows Antony to deliver a funeral oration. Brutus brings about his own downfall�not only by sparing the leader who can move and unite the people but also by giving him the opportunity to do so.

18. Octavius Caesar Octavius emerges as the character who can and should restore order to Rome. Name some reasons in Act V that suggests this.

19. Irony Identify at least three examples of irony in scene 3, Cassius�s death scene. How do these ironies make you feel?

20. Irony Ironies in scene 3 include the following: (1) Cassius claims that his sight is �ever thick� (line 21), but Pindarus�s clear sight does no better in revealing the truth. (2) The wreath of victory becomes a funeral wreath (lines 81-83 and 97) (3) In the end, Cassius indirectly causes Titinius�s death (lines 87-90)

21. ACT V Look at scenes 3 & 5 and the dying words of Cassius and Brutus. How does each man view Caesar�s murder? Do you think each man had a choice other than suicide?

22. Act V Both men use their last words to acknowledge that they die in retribution for Caesar�s death. Cassius, however, expresses no regret for the murder, whereas Brutus again expresses sorrow, implying that he acted out of necessity rather than desire. The two scenes clearly contrast the characters of Cassius and Brutus. Cassius�s speech reflects his belief in the power of revenge to motivate human action. Brutus�s speech shows his belief in humankind�s higher motives and his desire for Caesar to finally be at peace.

23. Omens & Dreams Motifs are abstract ideas, thoughts, symbols that reappear throughout a play or novel to connect or emphasize a greater meaning Omens and dreams are one such motif

24. Omens and dreams In the final act of Julius Caesar, Cassius, fearful of deat at Philippi, dispatches Titinius to discover whether the surrounding troops are friends or enemies. He posts another soldier to observe, and when the solider sees Titnius encircled by horsemen and reports that he is taken, Cassius runs on his sword and dies. Shortly afterward Titinius reenters the scene bearing a �wreath of victory� �seeing Cassius dead, screams, �thou has misconstrued everything�

25. Omens and dreams That one cry, �Thou has misconstrued everything! Might well serve as an epigraph for the whole of Julius Caesar. The play is full of omens and portents, augury and dream, and almost without exception these omens are misinterpreted.

26. Omens and dreams Calphurnia�s dream, the dream of Cinna the poet, the advice of the augurers, all suggest one course of action and produce an opposite. The compelling dream imagery of the play should have persuaded Caesar to avoid the capital and Cinna not to go forth, is deflected by the characters of men, making tragedy inevitable.

27. Omens and dreams Signs and dreams are neutral elements, incapable of effect without interpretation. By structuring the play around them, Shakespeare invites us to scrutinize the men who read the signs�to witness the tragedy of misconstruction.

28. Omens and dreams Decius Brutus states that no matter how superstitious Caesar has become, he is confident that he has the ability to manipulate him. This statement is important because it is not in the flaw of the omens or dreams, but the flaw is in the men who interpret and who are willingly deceived by them.

29. Omens and dreams By the time we come to Calphurnia�s dreams we are aware as readers that it is dangerous to disregard them. The imagery of the lioness whelping in the streets, the gods raining down fire all create an apocalypse of sorts, the last judgment of Rome.