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Analysis of caesar character in shakespeare's play julius caesar
Analysis of caesar character in shakespeare's play julius caesar
The role of women in Shakespeare's time
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In Act II, Portia uses rhetoric, or persuasion, to try to convince Brutus to tell her what is going on by proving her strength and loyalty to him. Portia does this in a few ways. When first trying to convince Brutus to tell her what is happening with him and why he has been acting so strange, Portia reminds Brutus that she is a part of him, his wife, his other half. She acknowledges that she is there to know his secrets and comfort him. Portia says to Brutus, “Which by the right and virtue of my place / I ought to know of. (kneels) / And upon my knees I charm you, by my once-commended beauty, / By all your vows of love and that great vow / Which did incorporate and make us one / That you unfold to me, your self, your half, / Why you are heavy, and what men tonight / Have had to resort to you” (Act II, Scene 1, lines 271-279). …show more content…
By saying this, Portia explains to Brutus that she is his wife, that she deserves to know what is happening and what is troubling him.
She points out that through their marriage, they became two halves of one whole and that they share everything with each other, even their deepest, darkest secrets. She then questions him by saying, “Within the bond of marriage, tell me, Brutus, / Is it excepted I should know no secrets / That appertain to you? Am I yourself / But, as it were, in sort or limitation, / To keep with you at meals, comfort your bed, / And talk to you sometimes?” (Act II, Scene 1, lines 283-288). Here she asks Brutus where she fits into his life, or if she even does fit into it at all. By this time, Portia is begging for Brutus to tell her what happened and what is causing him to push her away. Portia wants to know why Brutus has removed himself from her and their marriage and wants to know why she is just laying in the suburbs of his life, there but not
mattering. She continues by saying that if this were to be true, then she isn’t even his wife, she’s nothing more than his harlot. To continue to prove her loyalty to Brutus, Portia pleads with Brutus, telling him that while she may only be a woman, she came from a good father and married a good man; she knows what's right and wrong and knows when to keep her mouth shut. Portia wants Brutus to know that she is stronger than other women, that she can keep a secret just as well as any man. Taking it a step further, she then wounds herself, stabbing her own thigh. Reinforcing her point, Portia says to Brutus, “Can I bear that with patience, / And not my husband’s secrets?” (Act II, Scene 1, lines 304-305). She says to Brutus that if she is able to bear that pain, then she is definitely able to bear the weight of her husband’s secrets.
As a “speculative man of high motives and refined sensibility”(Catherine C. Dominic) Brutus does have his confusion of motives. Act I, scene ii, is the first we see his weakness, “his concern with reputation and appearance, his subtle vanity and pride”(Gayle Green). Yet the main bases of Brutus’s bewilderment of motives takes place in Act II, scene I, with his famous soliloquy beginning with “It must be by his death”. This speech may be the turning point in which Brutus feels better about the assassination of his once called friend.
Brutus is considered an honorable man by all those who live in Rome. He is a close friend of Caesar, husband of Portia, and is also a Senator. Brutus is drawn into killing Caesar by Cassius, who was jealous of Caesar's degree of power. Brutus was pulled into the scheme by letters brought to his house by Decius to make him think that the people of Rome wanted him to replace Caesar. Brutus also feels that Caesar is being given too much power and will destroy Rome's democracy. Brutus' reason for killing Caesar is to benefit Rome, he proves this when he states"If then that friend demand why Brutus rose against Caesar, this is my answer: not that I loved Caesar less, but that I loved Rome more." After losing to Mark Antony and Octavious, Brutus runs onto his own sword. He sticks to his beliefs, not altering them for others.
Shakespeare's The Merchant of Venice exemplifies a principle that is as unfortunately true in our time as it was in his - he who has money also has love, sex, and above all, power. In this case, the use of 'he' is deliberate; 'she,' in the Elizabethan era, rarely had either financial independence or much control over the course of her life. Portia, the deceitful heroine of the play, is a major exception. To put it bluntly, Portia is enormously rich. This unique position allows her to meddle in the affairs of the unsuspecting and somewhat dim male characters, and eventually gives her unprecedented power of self-determination. However, the play is more than a tale of feminine wiles overcoming male dullness of wit. Portia's wealth and intelligence may fuel her successes in marriage and the courtroom, but in each case it is her ability to usurp traditionally masculine roles that guarantees her victory. As Portia exploits the codependence of wealth, masculinity, and public power in her society, she becomes the only woman in the play who consistently controls her own destiny.
Hero and Claudio represent the Elizabethan norm in marriage. Claudio is the shrewd, hardheaded fortune hunter and Hero is the modest maiden of conduct books and marriage manuals, a docile young woman. It is important to note that Claudio is more concerned with advancement in Don Pedro's army than he is with love. Therefore, Shakespeare illustrates to the reader through the near tragedy of mistaken identity that Claudio must learn that marriage is more than a business arrangement and become worthy of Hero's love and affection. Source: Ranald, Margaret Loftus. "As Marriage Binds, and Blood Breaks: English Marriage and Shakespeare". Shakespeare Quarterly. Vol 30, 1979: 68-81.
English Coursework- Antony and Cleopatra “Compare Shakespeare’s presentation of Antony in the Egyptian scenes with his presentation of Antony in the Roman scenes” Shakespeare presents Antony in Egypt and Antony in Rome, in a very contrasting way. We see a man who almost contradicts his own self, dependant upon the company he is in. A great leader, yet he falls before Cleopatra. Antony is presented as the epitome of Roman masculinity, Philo describing Antony in the opening- “…those his goodly eyes, that o’er the files and musters of the war have glow’d like Mars…his captain’s heart, which in the scuffles of great fights hath burst the buckles on his breast…”-These words conjuring up imagery of war, machismo, and strength. Ideals that are most reputable in a Roman.
Brutus consistently uses rhetorical questions. This is effective because the people of Rome, the audience, is made to think logically about what he is asking. For example, Brutus says, “Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all freemen?” (Julius Caesar 3.2 lines) This quote holds importance to the speech because it makes the audience think if they would want to be slaves, if Caesar would have made them slaves, if it really is best that Caesar has been assassinated. In addition to this, Brutus’s diction is very negative toward Caesar, and that could affect the mood of the speech. By calling Caesar rude, vile, and ambitious, Brutus attempts to make the audience feel negatively toward Caesar. This is effective because it will allow Brutus to persuade them easier. Brutus also appeared to be speaking in a patronizing tone. While this implies negativity, it was effective toward the audience. By speaking as if he was above the people, Brutus made the audience feel as if he was trustworthy to listen to. Naturally, people of more likely to listen to someone who is in a position of power over
In William Shakespeare's play The Tragedy of Julius Caesar, two speeches are given to the people of Rome about Caesar's death. In Act 3, Scene 2 of this play Brutus and Antony both try to sway the minds of the Romans toward their views. Brutus tried to make the people believe he killed Caesar for a noble cause. Antony tried to persuade the people that the conspirators committed an act of brutality toward Caesar and were traitors. The effectiveness and ineffectiveness of both Antony's and Brutus's speech to the people are conveyed through tone and rhetorical devices.
Throughout the rest of the play we see Portia fight back not only through giving herself control of who she marries but also through deceiving the Duke into believing that she is a clever, young lawyer named Balthazar by writing a letter that the Duke receives from, supposedly, Bellario telling him that he cannot make the court hearing but he has sent a young man, a disguised Portia, called Balthazar to take his place. She starts the letter with flattery, saying, ‘Your Grace shall understand…’ This makes the Duke feel elevated and respected because Your Grace is a sign of humbleness showing respect and a feeling of status. She then writes that Bellario is ‘very sick’ so that the Duke would have sympathy for Bellario and therefore be more likely to agree to Balthazar being the prosecution councillor.
With two drastically different relationships with their spouses, analysis of Portia and Calpurnia’s relationships and care for their husbands leads one to see that Portia is the more admirable and redeeming character. Although both couples equally loved each other, the ways in which they reacted and influenced each other differed greatly.
A tragic hero is the antithesis for the common protagonist. Most protagonists show how they overcome great obstacles however, the tragic hero shows a more humane character, that stumbles and falls. The tragic hero usually exhibits three specific traits that lead to his or her downfall. In the play, Julius Caesar by William Shakespeare, the characters of Brutus and Caesar both exhibit the three attributes of a tragic character. The first trait of any tragic hero is a high rank and potential for greatness. Both Brutus and Caesar hold his trait, as they are beloved high ranking Romans. The second characteristic a tragic hero must possess; is a fatal flaw that dominates their personality, and Brutus’ sense of justice and Caesar’s ego, fulfill this
Everyone is deceived and believes Portia is truly a man therefore showing that she has the capabilities to exert the traits of a man. Portia is described as the “wise young judge” (IV, I, 228) and an “excellent young man” (IV, I, 252) by Shylock showing that he believes in the gender identity of Balthazar. Bassanio, Portia’s husband, is also fooled as he states that Antonio’s life is more valuable to him than Portia. Her credibility in turn gives her power over the men in the scene. She is able to use the balances of justice along with her knowledge in order to save Antonio. The turn in this scene is when she repeats, “A pound of flesh” (IV, I, 315) and states the specific words used in the document as no blood can be dropped from Antonio or else Shylock will be punished and strikes fear into Shylock. This shows that it is possible for a woman to obtain the masculine qualities of being powerful and intellectual. If Portia were to have not dressed as a man, but merely a woman, due to the social constructs of the time she would not have had any power in this situation. Portia tells Bassanio “I pray you, know me when we meet again” (IV, I, 432) which shows her feelings towards Bassanio not knowing her true identity, even through her disguise. Her actions were that of her individual, but due to her altering her appearance of gender it changed the way others viewed her
Portia then goes onto speak about why Shylock could show mercy and for what reason but with0out pressuring him into this act. He declines the offer. He states that he "Shylock: . . . I crave the law
The speech made by Marcus Antonius, called Antony, in Act Three, Scene Two of Julius Caesar shows that despite being considered a sportsman above all else, he is highly skilled with the art of oratory as well. In the play by William Shakespeare, this speech is made at the funeral of Caesar after he is killed by Brutus and the other conspirators. Brutus claimed earlier, in his own funeral speech, that the killing of Caesar was justified. He felt that Caesar was a threat, and too ambitious to be allowed as ruler. Much of this sentiment, however, was developed by the treacherous Cassius. Antony, on the other hand, felt that the conspirators were traitors to Rome and should be dealt with. This speech used a variety of methods to gradually bring the crowd to his side, yet maintain his side of the deal with Brutus. This deal was that he, “shall not in your funeral speech blame us...” (3.1.245) for the death of Caesar. Antony holds his end of the deal for the majority of the speech, yet by doing so convinces the crowd of Brutus' and the others' disloyalty. In many ways, this speech can be seen as the ultimate rhetoric, and it includes all three of Aristotle's methods of persuasion. This are the appeal to credibility, called ethos, the appeal to emotions, called pathos, and the appeal to logic, called logos. All three of these devices are used to great effect during the speech of Marcus Antonius.
shows that he is eager to win Portia that he does not ask for a