Since the Elizabethan era, society has been familiar with William Shakespeare’s play The Tragedy of Julius Caesar. Throughout the play, Brutus struggles to confront his internal conflict, which later leads him to join the conspiracy to assassin Caesar. After the assassination of Caesar, Brutus does not realize the fact that the Romans despise him for his actions taken. When he finally realizes his tragic flaw of gullibility, he tells Strato to kill him, so he would not have to witness him getting defeated in the war against Marc Antony in front of the Romans. Shakespeare wrote the play so that the audience visualizes that Caesar along with Brutus are the tragic heroes of the play, but he does not recognize Portia as a tragic hero; therefore, the audience fails to realize that Portia has the characteristics of a tragic hero as well. In The Tragedy of Julius Caesar, Shakespeare uses Portia to present to the audience the tragic flaw of the struggle to become manlier. In The Tragedy of Julius Caesar, Shakespeare uses Portia to demonstrate that manliness is the highest virtue in society.
Someone manly is a person who uses their nobility by flattering their power to one another to achieve their goals. Blits believes that the characters in The Tragedy of Julius Caesar use this nobility and try to gain something from it, he states, “The men we see in the play have the strongest desire for worldly glory and, regarding honor as the highest good, relentlessly strive to win it” (Blits 31). In her speech Portia mentions, “I grant I am a woman; but withal/ A woman well reputed, Cato’s daughter” (2.1.294-295). Portia presumes that by using obsequious methods of her nobility, Brutus will tell her about the conspiracy. She mentions her father b...
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... suffer the exact pain as men do when they are in combat and Blits tells us “manliness is displayed primarily in battle, so the combat between warriors does not stop at the city’s wall. Portia does not show any emotion to Brutus when she cuts herself because she knows that a manly person cannot shows any emotion when in pain. Once the audience visualizes that Portia does not get what she deserves after cutting herself, the audience truly identifies that she struggles to become manlier in the play but never reaches it.
Works Cited
Blitz, Jan H. “Manliness and Friendship in Julius Caesar” Bloom’s Modern Critical Interpretations: Julius Caesar. Ed. Harold Bloom. New York: Infobase Publishing, 2010.
Shakespeare, William. The Tragedy of Julius Caesar. Prentice Hall Literature: Grade ten. Ed. Kate Kinsella, et.al. Upper Saddle River: Prentice Hall, 2007. 824-923.
Shakespeare, William. “The Tragedy of Julius Caesar.” Elements of Literature: Kylene Beers. Austin: Holt, 2009. 842-963. Print.
Obviously nobility and honour are a theme of this play and Blits clearly states that the main women of this play such as Portia does not fit into the role of an honorable character, even when she is married to the “Most honourable man in Rome.” According to Blits, “Rome is a man’s world. No one in Caesar has a good word for women.” Once again he is being sexist, not one bit of respect for women but this fits right into the play, the people of Rome seem to be somewhat of a sheep that don’t stand out.
Shakespeare, William. “The Tragedy of Julius Caesar”. Elements of Literature. Ed. Deborah Appleman. 4th ed. Texas: Holt, Rinehart, and Winston, 2009. 843-963.
The play The Tragedy of Julius Caesar by William Shakespeare showcases many characters and events that go through many significant changes. One particular character that went through unique changes was Julius Caesar. The 16th century work is a lengthy tragedy about the antagonists Brutus and Cassius fighting with the protagonists Octavius, Antony, and Lepidus over the murder of Julius Caesar. Although the play’s main pushing conflict was the murder of Julius Caesar, he is considered a secondary character, but a protagonist. Throughout the theatrical work Julius Caesar’s actions, alliances, character developments, and internal and external conflicts display his diverse changes.
Allen, Janet. "Julius Caesar." Holt McDougal Literature. Orlando, FL: Holt McDougal/Houghton Mifflin Harcourt, 2012. N. pag. Print.
Julius Caesar, by William Shakespeare, is the story of a man trying his best to
The Tragedy of Julius Caesar. N.d. Print.
Shakespeare’s complex play The Tragedy of Julius Caesar contains several tragic heroes; a tragic hero holds high political or social esteem yet possesses an obvious character flaw. This discernible hubris undoubtedly causes the character’s demise or a severe forfeiture, which forces the character to undergo an unfeigned moment of enlightenment and shear reconciliation. Brutus, one of these tragic heroes, is a devout friend of the great Julius Caesar, that is, until he makes many execrable decisions he will soon regret; he becomes involved in a plot to kill the omniscient ruler of Rome during 44 B.C. After committing the crime, Mark Antony, an avid, passionate follower of Caesar, is left alive under Brutus’s orders to take his revenge on the villains who killed his beloved Caesar. After Antony turns a rioting Rome on him and wages war against him and the conspirators, Brutus falls by his own hand, turning the very sword he slaughtered Caesar with against himself. Brutus is unquestionably the tragic hero in this play because he has an innumerable amount of character flaws, he falls because of these flaws, and then comes to grips with them as he bleeds on the planes of Philippi.
In the play Julius Caesar, written and preformed by William Shakespeare, there are many characters, but two, Brutus and Cassius, stood out. The play begins in Rome where a celebration of Julius Caesar's victory over the former ruler of Rome, Pompeii. The victory leads to Caesar's betrayal by his jealous companions. Senators and other high status figures are jealous of Caesar's new and growing power, while others, like Brutus, fear the tyrannical rule Caesar could enforce. The conspirators, Brutus and Cassius being the most important, assassinate Julius Caesar and Marcus Antonius, better known as Antony, and Octavius Caesar, Caesar's heir to the thrown, revenge Caesar's death. Antony convinces the Roman populous to destroy the conspirators and eventually begins a war with Cassius and Brutus' armies. Both Cassius and Brutus commit suicide to save their honor and Antony and Octavius win the war. The characterizations of Brutus and Cassius show a distinct contrast in their character traits and motives for the assassination of Julius Caesar.
Bloom, Harold. William Shakespeare's Julius Caesar. Chelsea House Publisher; Connecticut, New York, & Pennsylvania. 1988, Pg. #33 - 36
Alvin B. Kernan. The Tragedy of Julius Caesar. New Haven: Yale University Press, 2009. Print.
In tragedy plays, there is a character who suffers from a tragic flaw in his or her personality may it be excessive pride, poor judgement, or both which eventually leads to the hero’s downfall and makes the character the tragic hero. In Julius Caesar by William Shakespeare, Marcus Brutus is the tragic hero of the play due to his tragic flaw which is his naïve and over-trusting personality, which he eventually realizes too late but still aims to prevent his loss of dignity.
Throughout Shakespeare’s various works, it has been observed that he rarely uses females in his literature, but when he does, he uses them for a distinct purpose, as is evident in Julius Caesar. By defying the societal standards of her gender and showing genuine interest in her husband’s thoughts and feelings, Portia, the wife of Brutus, reveals key aspects of his character while adding depth to the story. For her time, Portia was a woman who both respected herself and took pride in herself, without allowing society to make a mark on her. This is evident when she states, “Think you I am no stronger than my sex/ Being so father'd and so husbanded?" (Port...
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
Throughout the play Shakespeare develops Portia’s character from what seems like a subservient woman, who is forced into a marriage, to an independent woman who is considered equal by her husband. The arranged marriage shows that Portia was given no freedom by her. dominant dead father, which may be why Portia seems to be horrible. comments about all the suitors that come to try to complete the life – changing the task of the. At the beginning of the play Portia has no control over her financial.