What words does Brutus use to prove that he has joined the conspiracy to kill Caesar? Quote it.

Play past William Shakespeare

Inside the Tent of Brutus: Enter the Ghost of Caesar, Julius Caesar, Act IV, Scene III, Edwin Austin Abbey (1905)

The Tragedy of Julius Caesar (First Folio title: The Tragedie of Ivlivs Cæsar ) is a history play and tragedy by William Shakespeare get-go performed in 1599. Although the play is named Julius Caesar, Brutus speaks more than than four times equally many lines as the title character, and the central psychological drama of the play focuses on Brutus.

Brutus joins a conspiracy led by Cassius to murder Julius Caesar, to prevent Caesar becoming a tyrant. Antony stirs up hostility against the conspirators. Rome becomes embroiled in a civil war.

Characters [edit]

Synopsis [edit]

The play opens with two tribunes discovering the commoners of Rome celebrating Julius Caesar's triumphant return from defeating the sons of his war machine rival, Pompey. The tribunes, insulting the crowd for their change in loyalty from Pompey to Caesar, attempt to stop the festivities and break up the commoners, who return the insults. During the feast of Lupercal, Caesar holds a victory parade and a soothsayer warns him to "Beware the ides of March," which he ignores. Meanwhile, Cassius attempts to convince Brutus to join his conspiracy to kill Caesar. Although Brutus, friendly towards Caesar, is hesitant to impale him, he agrees that Caesar may exist abusing his power. They and so hear from Casca that Mark Antony has offered Caesar the crown of Rome three times. Casca tells them that each time Caesar refused it with increasing reluctance, hoping that the crowd watching would insist that he take the crown. He describes how the oversupply applauded Caesar for denying the crown, and how this upset Caesar. On the eve of the ides of March, the conspirators meet and reveal that they take forged letters of support from the Roman people to tempt Brutus into joining. Brutus reads the messages and, after much moral fence, decides to bring together the conspiracy, thinking that Caesar should be killed to preclude him from doing annihilation against the people of Rome if he were ever to be crowned.

"Julius Caesar", Act Iii, Scene 2, the Murder Scene, George Clint (1822)

After ignoring the soothsayer, equally well as his wife Calpurnia'south own premonitions, Caesar goes to the Senate. The conspirators approach him with a faux petition pleading on behalf of Metellus Cimber'south banished brother. As Caesar predictably rejects the petition, Casca and the others all of a sudden stab him; Brutus is terminal. At this point, Caesar utters the famous line "Et tu, Brute?"^[2] ("And y'all, Brutus?", i.e. "You too, Brutus?"), last with "So fall, Caesar!"

The conspirators make clear that they committed this murder for the proficient of Rome, in order to forestall an autocrat. They testify this by non attempting to flee the scene. Brutus delivers an oration defending his own actions, and for the moment, the oversupply is on his side. All the same, Antony makes a subtle and eloquent speech communication over Caesar'due south corpse, kickoff with the much-quoted "Friends, Romans, countrymen, lend me your ears!"^[3] In this mode, he deftly turns public stance against the assassins by manipulating the emotions of the common people, in contrast to the rational tone of Brutus's oral communication, all the same at that place is method in his rhetorical speech and gestures: he reminds them of the good Caesar had done for Rome, his sympathy with the poor, and his refusal of the crown at the Lupercal, thus questioning Brutus'due south merits of Caesar'south appetite; he shows Caesar's bloody, lifeless body to the crowd to accept them shed tears and gain sympathy for their fallen hero; and he reads Caesar'south will, in which every Roman citizen would receive 75 drachmas. Antony, even as he states his intentions against it, rouses the mob to drive the conspirators from Rome. Amid the violence, an innocent poet, Cinna, is confused with the conspirator Lucius Cinna and is taken by the mob, which kills him for such "offenses" as his bad verses.

Brutus next attacks Cassius for supposedly soiling the noble act of regicide by having accepted bribes. ("Did not great Julius bleed for justice' sake? / What villain touch'd his torso, that did stab, / And not for justice?"^[four]) The 2 are reconciled, especially after Brutus reveals that his beloved wife committed suicide nether the stress of his absence from Rome; they prepare for a ceremonious war against Antony and Caesar's adopted son, Octavius, who have formed a triumvirate in Rome with Lepidus. That nighttime, Caesar'due south ghost appears to Brutus with a warning of defeat. (He informs Brutus, "One thousand shalt come across me at Philippi."^[5])

At the boxing, Cassius and Brutus, knowing that they will probably both die, smile their last smiles to each other and hold hands. During the battle, Cassius has his servant kill him later hearing of the capture of his all-time friend, Titinius. After Titinius, who was non really captured, sees Cassius'south corpse, he commits suicide. However, Brutus wins that phase of the battle, just his victory is non conclusive. With a heavy heart, Brutus battles again the next solar day. He loses and commits suicide by running on his own sword, held for him by a loyal soldier.

Henry Fuseli, The Expiry of Brutus, a charcoal cartoon with white chalk (c.1785)

The play ends with a tribute to Brutus past Antony, who proclaims that Brutus has remained "the noblest Roman of them all"^[6] considering he was the but conspirator who acted, in his mind, for the proficient of Rome. There is then a small hint at the friction between Antony and Octavius which characterises some other of Shakespeare'southward Roman plays, Antony and Cleopatra.

Sources [edit]

The main source of the play is Thomas North'due south translation of Plutarch'due south Lives.^{[seven] [8]}

Deviations from Plutarch [edit]

• Shakespeare makes Caesar'due south triumph take place on the day of Lupercalia (15 Feb) instead of half dozen months earlier.
• For dramatic issue, he makes the Capitol the venue of Caesar's expiry rather than the Curia Pompeia (Curia of Pompey).
• Caesar'due south murder, the funeral, Antony'south oration, the reading of the will, and the arrival of Octavius all take place on the aforementioned day in the play. Nevertheless, historically, the bump-off took identify on 15 March (The Ides of March), the volition was published on 18 March, the funeral was on xx March, and Octavius arrived simply in May.
• Shakespeare makes the Triumvirs encounter in Rome instead of well-nigh Bononia to avert an boosted locale.
• He combines the 2 Battles of Philippi although in that location was a 20-solar day interval between them.
• Shakespeare has Caesar say Et tu, Brute? ("And you, Brutus?") before he dies. Plutarch and Suetonius each report that he said zip, with Plutarch adding that he pulled his toga over his head when he saw Brutus amongst the conspirators,^[9] though Suetonius does record other reports that Caesar said in Latin, "ista quidem est vis (This is violence.)^{[10] [eleven]} The Latin words Et tu, Brute?, withal, were not devised by Shakespeare for this play since they are attributed to Caesar in earlier Elizabethan works and had become conventional by 1599.

Shakespeare deviated from these historical facts to curtail time and compress the facts so that the play could be staged more easily. The tragic force is condensed into a few scenes for heightened effect.

Date and text [edit]

The first page of Julius Caesar, printed in the 2nd Page of 1632

Julius Caesar was originally published in the First Page of 1623, but a performance was mentioned by Thomas Platter the Younger in his diary in September 1599. The play is not mentioned in the list of Shakespeare'due south plays published by Francis Meres in 1598. Based on these 2 points, every bit well as a number of contemporary allusions, and the conventionalities that the play is like to Hamlet in vocabulary, and to Henry V and Every bit You Like It in metre,^[12] scholars have suggested 1599 as a likely date.^[13]

The text of Julius Caesar in the First Page is the simply administrative text for the play. The Page text is notable for its quality and consistency; scholars judge it to have been fix into type from a theatrical prompt-book.^[14]

The play contains many anachronistic elements from the Elizabethan era. The characters mention objects such every bit doublets (big, heavy jackets) – which did not exist in ancient Rome. Caesar is mentioned to be wearing an Elizabethan doublet instead of a Roman toga. At one point a clock is heard to strike and Brutus notes information technology with "Count the clock".

Analysis and criticism [edit]

This department needs expansion. You tin can assist past calculation to information technology. (Feb 2021)

Historical background [edit]

Maria Wyke has written that the play reflects the general anxiety of Elizabethan England over succession of leadership. At the time of its creation and first operation, Queen Elizabeth, a stiff ruler, was elderly and had refused to name a successor, leading to worries that a civil state of war like to that of Rome might break out subsequently her expiry.^[fifteen]

Protagonist fence [edit]

A late 19th-century painting of Act IV, Scene iii: Brutus sees Caesar's ghost.

Critics of Shakespeare's play Julius Caesar differ greatly on their views of Caesar and Brutus. Many take debated whether Caesar or Brutus is the protagonist of the play, because of the title character'due south death in Human action Three, Scene One. But Caesar compares himself to the Northern Star, and perhaps it would be foolish not to consider him every bit the axial character of the play, around whom the entire story turns. Intertwined in this fence is a smattering of philosophical and psychological ideologies on republicanism and monarchism. 1 author, Robert C. Reynolds, devotes attention to the names or epithets given to both Brutus and Caesar in his essay "Ironic Epithet in Julius Caesar". He points out that Casca praises Brutus at confront value, but then inadvertently compares him to a disreputable joke of a man by calling him an alchemist, "Oh, he sits high in all the people's hearts,/And that which would appear offence in united states of america/ His countenance, like richest alchemy,/ Will change to virtue and to worthiness" (I.iii.158–160). Reynolds likewise talks nearly Caesar and his "Colossus" epithet, which he points out has its obvious connotations of power and manliness, but also lesser known connotations of an outward glorious front and in chaos.^[xvi]

Myron Taylor, in his essay "Shakespeare's Julius Caesar and the Irony of History", compares the logic and philosophies of Caesar and Brutus. Caesar is deemed an intuitive philosopher who is e'er right when he goes with his instinct; for case, when he says he fears Cassius as a threat to him earlier he is killed, his intuition is correct. Brutus is portrayed equally a man similar to Caesar, but whose passions lead him to the wrong reasoning, which he realises in the end when he says in V.v.50–51, "Caesar, at present be withal:/ I kill'd not thee with one-half so good a will".^[17]

Joseph Westward. Houppert acknowledges that some critics have tried to cast Caesar equally the protagonist, but that ultimately Brutus is the driving force in the play and is therefore the tragic hero. Brutus attempts to put the commonwealth over his personal relationship with Caesar and kills him. Brutus makes the political mistakes that bring downward the commonwealth that his ancestors created. He acts on his passions, does not get together enough testify to make reasonable decisions and is manipulated by Cassius and the other conspirators.^[xviii]

Traditional readings of the play may maintain that Cassius and the other conspirators are motivated largely past envy and ambition, whereas Brutus is motivated past the demands of accolade and patriotism. Certainly, this is the view that Antony expresses in the last scene. Merely one of the fundamental strengths of the play is that it resists categorising its characters as either uncomplicated heroes or villains. The political journalist and classicist Garry Wills maintains that "This play is distinctive because it has no villains".^[19]

It is a drama famous for the difficulty of deciding which role to emphasise. The characters rotate around each other like the plates of a Calder mobile. Touch one and it affects the position of all the others. Enhance one, some other sinks. Merely they keep coming dorsum into a precarious balance.^[20]

Performance history [edit]

The play was probably one of Shakespeare'due south first to be performed at the Globe Theatre.^[21] Thomas Platter the Younger, a Swiss traveller, saw a tragedy about Julius Caesar at a Bankside theatre on 21 September 1599, and this was most likely Shakespeare'south play, equally there is no obvious alternative candidate. (While the story of Julius Caesar was dramatised repeatedly in the Elizabethan/Jacobean period, none of the other plays known are equally good a friction match with Platter'south clarification as Shakespeare's play.)^[22]

Subsequently the theatres re-opened at the kickoff of the Restoration era, the play was revived by Thomas Killigrew'southward King's Company in 1672. Charles Hart initially played Brutus, as did Thomas Betterton in later productions. Julius Caesar was i of the very few Shakespeare plays that was not adapted during the Restoration menstruation or the eighteenth century.^[23]

Notable performances [edit]

• 1864: Junius Jr., Edwin and John Wilkes Booth (later the assassin of U.South. president Abraham Lincoln) made the only advent onstage together in a do good functioning of Julius Caesar on 25 Nov 1864, at the Wintertime Garden Theater in New York City. Junius Jr. played Cassius, Edwin played Brutus and John Wilkes played Mark Antony. This landmark production raised funds to erect a statue of Shakespeare in Central Park, which remains to this day.
• 29 May 1916: A one-nighttime performance in the natural bowl of Beachwood Canyon, Hollywood drew an audition of 40,000 and starred Tyrone Power Sr. and Douglas Fairbanks Sr. The student bodies of Hollywood and Fairfax High Schools played opposing armies, and the elaborate battle scenes were performed on a huge stage also as the surrounding hillsides. The play commemorated the tercentenary of Shakespeare'southward death. A photograph of the elaborate phase and viewing stands can be seen on the Library of Congress website. The performance was lauded by L. Frank Baum.^[24]
• 1926: Another elaborate performance of the play was staged every bit a benefit for the Actors Fund of America at the Hollywood Basin. Caesar arrived for the Lupercal in a chariot drawn by four white horses. The phase was the size of a city block and dominated past a key tower fourscore feet in top. The event was mainly aimed at creating work for unemployed actors. Three hundred gladiators appeared in an loonshit scene not featured in Shakespeare's play; a similar number of girls danced as Caesar's captives; a full of three thousand soldiers took part in the battle sequences.

• 1937: Caesar, Orson Welles'southward famous Mercury Theatre production, drew fevered comment as the director dressed his protagonists in uniforms reminiscent of those common at the fourth dimension in Fascist Italy and Nazi Germany, cartoon a specific illustration betwixt Caesar and Fascist Italian leader Benito Mussolini. Time magazine gave the production a rave review,^[25] together with the New York critics.^{[26] : 313–319} The fulcrum of the bear witness was the slaughter of Cinna the Poet (Norman Lloyd), a scene that literally stopped the show.^[27] Caesar opened at the Mercury Theatre in New York City in November 1937^{[28] : 339} and moved to the larger National Theater in January 1938,^{[28] : 341} running a total of 157 performances.^[29] A second company made a v-month national tour with Caesar in 1938, again to critical acclaim.^{[xxx] : 357}
• 1950: John Gielgud played Cassius at the Shakespeare Memorial Theatre nether the direction of Michael Langham and Anthony Quayle. The production was considered 1 of the highlights of a remarkable Stratford season and led to Gielgud (who had washed little pic work to that time) playing Cassius in Joseph L. Mankiewicz's 1953 moving-picture show version.
• 1977: Gielgud made his final appearance in a Shakespearean part on stage every bit Caesar in John Schlesinger's production at the Imperial National Theatre. The cast too included Ian Charleson as Octavius.
• 1994: Arvind Gaur directed the play in Republic of india with Jaimini Kumar as Brutus and Deepak Ochani equally Caesar (24 shows); later on he revived information technology with Manu Rishi as Caesar and Vishnu Prasad as Brutus for the Shakespeare Drama Festival, Assam in 1998. Arvind Kumar translated Julius Caesar into Hindi. This production was also performed at the Prithvi international theatre festival, at the India Habitat Centre, New Delhi.
• 2005: Denzel Washington played Brutus in the outset Broadway product of the play in over fifty years. The production received universally negative reviews just was a sell-out because of Washington'due south popularity at the box office.^[31]
• 2012: The Imperial Shakespeare Visitor staged an all-black production nether the direction of Gregory Doran.
• 2012: An all-female person product starring Harriet Walter as Brutus and Frances Barber as Caesar was staged at the Donmar Warehouse, directed by Phyllida Lloyd. In October 2013, the product transferred to New York'southward St. Ann's Warehouse in Brooklyn.
• 2018: The Bridge Theatre stages Julius Caesar as one of its first productions, under the management of Nicholas Hytner, with Ben Whishaw, Michelle Fairley, and David Morrissey equally leads. This mirrors the play's status as one of the first productions at the World Theatre in 1599.

Adaptations and cultural references [edit]

Ane of the earliest cultural references to the play came in Shakespeare's own Hamlet. Prince Hamlet asks Polonius about his career as a thespian at university, Polonius replies "I did enact Julius Caesar. I was killed i' th' Capitol. Brutus killed me." This is a probable meta-reference, equally Richard Burbage is generally accepted to take played leading men Brutus and Hamlet, and the older John Heminges to take played Caesar and Polonius.

In 1851, the German composer Robert Schumann wrote a concert overture Julius Caesar, inspired past Shakespeare's play. Other musical settings include those by Giovanni Bononcini, Hans von Bülow, Felix Draeseke, Josef Bohuslav Foerster, John Ireland, John Foulds, Gian Francesco Malipiero, Manfred Gurlitt, Darius Milhaud, and Mario Castelnuovo-Tedesco.^[32]

The Canadian comedy duo Wayne and Shuster parodied Julius Caesar in their 1958 sketch Rinse the Blood off My Toga. Flavius Maximus, Private Roman Middle, is hired by Brutus to investigate the death of Caesar. The law procedural combines Shakespeare, Dragnet, and vaudeville jokes and was starting time broadcast on The Ed Sullivan Prove.^[33]

In 1984, the Riverside Shakespeare Company of New York Urban center produced a modernistic wearing apparel Julius Caesar fix in gimmicky Washington, called simply CAESAR!, starring Harold Scott as Brutus, Herman Petras as Caesar, Marya Lowry every bit Portia, Robert Walsh as Antony, and Michael Cook equally Cassius, directed by W. Stuart McDowell at The Shakespeare Centre.^[34]

In 2006, Chris Taylor from the Australian comedy squad The Attorney wrote a comedy musical chosen Dead Caesar which was shown at the Sydney Theatre Visitor in Sydney.

The line "The Evil That Men Exercise", from the spoken communication made by Mark Antony following Caesar's expiry ("The evil that men do lives after them; The good is oft interred with their bones.") has had many references in media, including the titles of:

• An Atomic number 26 Maiden vocal
• A politically oriented film directed by J. Lee Thompson in 1984
• A novel in the Buffy the Vampire Slayer series.

The 2008 flick Me and Orson Welles, based on a book of the aforementioned proper name by Robert Kaplow, is a fictional story centred around Orson Welles' famous 1937 production of Julius Caesar at the Mercury Theatre. British actor Christian McKay is bandage as Welles, and co-stars with Zac Efron and Claire Danes.

The 2012 Italian drama film Caesar Must Die (Italian: Cesare deve morire), directed by Paolo and Vittorio Taviani, follows convicts in their rehearsals ahead of a prison performance of Julius Caesar.

In the Ray Bradbury book Fahrenheit 451, some of the character Beatty'southward concluding words are "There is no terror, Cassius, in your threats, for I am armed so strong in honesty that they pass me as an idle wind, which I respect not!"

The play's line "the fault, dear Brutus, is not in our stars, but in ourselves", spoken by Cassius in Act I, scene 2, is often referenced in popular civilization. The line gave its name to the J.G. Barrie play Dear Brutus, and also gave its name to the best selling immature adult novel The Mistake in Our Stars by John Greenish and its motion picture accommodation. The same line was quoted in Edward R. Murrow's epilogue of his famous 1954 Encounter It Now documentary broadcast concerning Senator Joseph R. McCarthy. This speech and the line were recreated in the 2005 film Skillful Night, and Practiced Luck. Information technology was as well quoted by George Clooney's character in the Coen brothers picture Intolerable Cruelty.

The line "And therefore think him equally a serpent's egg / Which hatch'd, would, as his kind grow mischievous; And kill him in the vanquish" spoken by Brutus in Human action Two, Scene 1, is referenced in the Dead Kennedys song "California über alles".

The titles of Agatha Christie novel Taken at the Flood, titled There Is a Tide in its American edition, refer to an iconic line of Brutus: "There is a tide in the affairs of men, which, taken at the alluvion, leads on to fortune." (Human activity 4, Scene III).

Film and television adaptations [edit]

Julius Caesar has been adapted to a number of moving-picture show productions, including:

• Julius Caesar (Vitagraph Visitor of America, 1908), produced by J. Stuart Blackton and directed by William V. Ranous, who also played Antony.^[35]
• Julius Caesar (Avon Productions, 1950), directed by David Bradley, who played Brutus; Charlton Heston played Antony and Harold Tasker played Caesar.^[36]
• Julius Caesar (MGM, 1953), directed past Joseph L. Mankiewicz and produced past John Houseman; starring James Stonemason as Brutus, Marlon Brando as Antony and Louis Calhern as Caesar.^[36]
• An Honourable Murder (1960), directed by Godfrey Grayson;^[37] depicted the play in a modern business setting.^[38]
• The Spread of the Eagle, a 1963 BBC serial comprising Coriolanus, Julius Caesar, and Antony & Cleopatra.
• Julius Caesar (Commonwealth United, 1969), directed by Stuart Burge, produced by Peter Snell, starring Jason Robards as Brutus, Charlton Heston as Antony and John Gielgud as Caesar.^[36]
• Heil Caesar (BBC, 1973), a iii-part television play written by John Griffith Bowen that was "a modernistic-dress modern-dialogue rewrite of the play, updated to an unnamed present-twenty-four hour period regime that's nearly to switch from democracy to dictatorship unless Brutus and his conspirators act to foreclose it." It was intended as an introduction to Shakespeare'due south play for schoolchildren, but it proved good plenty to exist shown on adult telly, and a stage version was afterward produced.^[39] The British Universities Film & Video Council database states that the piece of work "transforms the play into a modern political conspiracy thriller with modernistic dialogue and many strong allusions to political events in the early 1970."^[twoscore]
• Julius Caesar (BBC/Time-Life TV, 1978), a television receiver adaptation in the BBC Television Shakespeare serial, directed by Herbert Wise and produced by Cedric Messina, starring Richard Pasco as Brutus, Keith Michell every bit Antony and Charles Gray as Caesar.^[36]
• Julius Caesar (2010), is a short film starring Randy Harrison as Brutus and John Shea as Julius Caesar. Directed by Patrick J Donnelly and produced by Dan O'Hare.^[41]
• Caesar Must Die (2012), is an Italian film nigh a grouping of prison house inmates rehearsing the play. Ultimately, the prison life and the play get indistinguishable and Mark Antony's Friends, Romans... speech is delivered in a prison courtyard with hundreds of prisoners peeking from their cell windows taking the role of Roman citizens. While the film is fictional, the actors are bodily prison house inmates playing themselves.^[42]
• Zulfiqar (2016), a Bengali-language Indian film past Srijit Mukherji that is an accommodation of both Julius Caesar and Antony and Cleopatra and a tribute to the motion-picture show The Godfather.^[43]

Contemporary political references [edit]

Modern adaptions of the play have often fabricated gimmicky political references,^[44] with Caesar depicted as resembling a variety of political leaders, including Huey Long, Margaret Thatcher, and Tony Blair.^[45] Professor A. J. Hartley, the Robinson Chair of Shakespeare Studies at the University of North Carolina at Charlotte, states that this is a fairly "mutual trope" of Julius Caesar performances: "Throughout the 20th century and into the 21st, the rule has been to create a recognisable political earth within the production. And ofttimes people in the title part itself look similar or feel similar somebody either in contempo or electric current politics."^[45] A 2012 production of Julius Caesar by the Guthrie Theater and The Acting Company "presented Caesar in the guise of a black actor who was meant to suggest President Obama."^[44] This production was not specially controversial.^[44] In 2017, however, a modern adaptation of the play at New York's Shakespeare in the Park (performed by The Public Theater) depicted Caesar with the likeness of so-president Donald Trump and thereby aroused ferocious controversy, drawing criticism by media outlets such as The Daily Caller and Breitbart and prompting corporate sponsors Banking concern of America and Delta Airlines to pull their financial support.^{[44] [46] [47] [48]} The Public Theater stated that the message of the play is not pro-assassination and that the point is that "those who attempt to defend democracy by undemocratic ways pay a terrible price and destroy the very thing they are fighting to relieve." Shakespeare scholars Stephen Greenblatt^[49] and Peter Holland agreed with this statement.^[45] Pallotta stated that "I have never read anyone suggesting that 'Julius Caesar' is a play that recommends assassination. Look what happens: Caesar is assassinated to cease him becoming a dictator. Upshot: civil war, massive slaughter, creation of an emperor, execution of many who sympathized with the conspiracy. Doesn't look much like a successful result for the conspirators to me."^[45] The play was interrupted several times by right-wing protesters, who accused the play of "violence against the correct", and actors and members of theatres with Shakespeare in the name were harassed and received death threats, including the wife of the play'southward director Oskar Eustis.^{[50] [51] [52] [53]} The protests were praised by American Family Association director Sandy Rios who compared the play with the execution of Christians by damnatio ad bestias.^[54]

Run across also [edit]

• 1599 in literature
• Assassinations in fiction
• Caesar's Comet
• Marking Antony's Funeral Speech
• "The dogs of war"

References [edit]

Citations [edit]

1. ^ Named in Parallel Lives and quoted in Spevack, Marvin (2004). Julius Caesar. New Cambridge Shakespeare (two ed.). Cambridge, England: Cambridge University Press. p. 74. ISBN978-0-521-53513-seven.
2. ^ "Julius Caesar, Deed iii, Scene 1, Line 77".
3. ^ "Julius Caesar, Act iii, Scene 2, Line 73".
4. ^ "Julius Caesar, Act 4, Scene 3, Lines xix–21".
5. ^ "Julius Caesar, Act iv, Scene 3, Line 283".
6. ^ "Julius Caesar, Act five, Scene 5, Line 68".
7. ^ Shakespeare, William (1999). Arthur Humphreys (ed.). Julius Caesar. Oxford University Printing. p. 8. ISBN0-19-283606-four.
8. ^ Pages from Plutarch, Shakespeare's Source for Julius Caesar.
9. ^ Plutarch, Caesar 66.9
10. ^ Suetonius, Julius 82.2).
11. ^ Suetonius, The Twelve Caesars, translated by Robert Graves, Penguin Classic, p. 39, 1957.
12. ^ Wells and Dobson (2001, 229).
13. ^ Spevack (1988, vi), Dorsch (1955, vii–8), Boyce (2000, 328), Wells, Dobson (2001, 229)
14. ^ Wells and Dobson, ibid.
15. ^ Wyke, Maria (2006). Julius Caesar in western culture. Oxford, England: Blackwell. p. 5. ISBN978-1-4051-2599-4.
16. ^ Reynolds 329–333
17. ^ Taylor 301–308
18. ^ Houppert 3–9
19. ^ Wills, Garry (2011), Rome and Rhetoric: Shakespeare's Julius Caesar; New Haven and London: Yale University Press, p. 118.
20. ^ Wills, Op. cit., p. 117.
21. ^ Evans, G. Blakemore (1974). The Riverside Shakespeare. Houghton Mifflin Co. p. 1100.
22. ^ Richard Edes's Latin play Caesar Interfectus (1582?) would not qualify. The Admiral'south Men had an anonymous Caesar and Pompey in their repertory in 1594–95, and another play, Caesar's Fall, or the Two Shapes, written past Thomas Dekker, Michael Drayton, Thomas Middleton, Anthony Munday, and John Webster, in 1601–02, also late for Platter'south reference. Neither play has survived. The anonymous Caesar'south Revenge dates to 1606, while George Chapman's Caesar and Pompey dates from ca. 1613. E. G. Chambers, Elizabethan Phase, Vol. two, p. 179; Vol. 3, pp. 259, 309; Vol. 4, p. 4.
23. ^ Halliday, p. 261.
24. ^ L. Frank Baum. "Julius Caesar: An Appreciation of the Hollywood Product." Mercury Mag, fifteen June 1916. http://www.hungrytigerpress.com/tigertreats/juliuscaesar.shtml
25. ^ "Theatre: New Plays in Manhattan: Nov. 22, 1937". Time. 22 Nov 1937. Archived from the original on xvi December 2009. Retrieved 13 March 2010.
26. ^ Houseman, John (1972). Run-Through: A Memoir . New York: Simon & Schuster. ISBN0-671-21034-3.
27. ^ Lattanzio, Ryan (2014). "Orson Welles' Globe, and Nosotros're Just Living in Information technology: A Chat with Norman Lloyd". EatDrinkFilms.com . Retrieved 5 November 2015.
28. ^ ^{a b} Welles, Orson; Bogdanovich, Peter; Rosenbaum, Jonathan (1992). This is Orson Welles. New York: HarperCollins Publishers. ISBN0-06-016616-9.
29. ^ "News of the Stage; 'Julius Caesar' Closes Tonight". The New York Times. 28 May 1938. Retrieved 5 November 2015.
30. ^ Callow, Simon (1996). Orson Welles: The Road to Xanadu . New York: Viking. ISBN978-0-670-86722-half dozen.
31. ^ "A Large-Name Brutus in a Caldron of Chaosa". The New York Times. 4 April 2005. Retrieved seven November 2010.
32. ^ Grove's Dictionary of Music and Musicians, 5th edition, ed. Eric Blom, Vol. VII, p. 733
33. ^ "Rinse the Claret Off My Toga". Canadian Adaptations of Shakespeare Project at the University of Guelph. Retrieved 13 March 2010.
34. ^ Herbert Mitgang of The New York Times, 14 March 1984, wrote: "The famous Mercury Theater production of Julius Caesar in modern dress staged by Orson Welles in 1937 was designed to make audiences think of Mussolini's Blackshirts – and it did. The Riverside Shakespeare Company's lively production makes you lot think of timeless appetite and antilibertarians anywhere."
35. ^ Maria Wyke, Caesar in the USA (University of California Press, 2012), p. threescore.
36. ^ ^{a b c d} Shakespeare and the Moving Image: The Plays on Film and Television (eds. Anthony Davies & Stanley Wells: Cambridge Academy Press, 1994), pp. 29–31.
37. ^ Darryll Grantley, Historical Dictionary of British Theatre: Early on Catamenia (Scarecrow Press, 2013), p. 228.
38. ^ Stephen Chibnall & Brian McFarlane, The British 'B' Picture show (Palgrave Macmillan/British Pic Institute, 2009), p. 252.
39. ^ Michael Brooke. "Julius Caesar on Screen". Screenonline. British Pic Constitute.
40. ^ Heil Caesar, Function ane: The Conspirators, Learning on Screen, British Universities Motion picture & Video Council.
41. ^ "Julius Caesar (2010) - IMDb".
42. ^ French, Philip (3 March 2013). "Caesar Must Die – review" – via www.theguardian.com.
43. ^ Anindita Acharya, My pic Zulfiqar is a tribute to The Godfather, says Srijit Mukherji, Hindustan Times (20 September 2016).
44. ^ ^{a b c d} Peter Marks, When 'Julius Caesar' was given a Trumpian makeover, people lost it. But is it any adept, Washington Post (16 June 2017).
45. ^ ^{a b c d} Frank Pallotta, Trump-like 'Julius Caesar' isn't the kickoff time the play has killed a contemporary politico, CNN (12 June 2017).
46. ^ "Delta and Bank of America cold-shoulder 'Julius Caesar' play starring Trump-like grapheme". The Guardian. 12 June 2017. Retrieved 17 June 2017.
47. ^ Alexander, Harriet (12 June 2017). "Central Park play depicting Julius Caesar as Donald Trump causes theatre sponsors to withdraw". The Telegraph. Archived from the original on 12 January 2022. Retrieved 17 June 2017.
48. ^ "Delta, BofA Drop Support For 'Julius Caesar' That Looks Also Much Similar Trump". NPR. 12 June 2017.
49. ^ Beckett, Lois (12 June 2017). "Trump as Julius Caesar: anger over play misses Shakespeare's point, says scholar". The Guardian . Retrieved 17 June 2017.
50. ^ Al-Sibai, Noor (17 June 2017). "Shakespearean actors beyond the United states are receiving decease threats over New York'southward Trump-as-Caesar play". The Raw Story . Retrieved 23 June 2017.
51. ^ "'Trump decease' in Julius Caesar prompts threats to wrong theatres". CNN. 19 June 2017. Retrieved 23 June 2017.
52. ^ Wahlquist, Calla (17 June 2017). "'This is violence confronting Donald Trump': rightwingers interrupt Julius Caesar play". The Guardian . Retrieved 23 June 2017.
53. ^ Link, Taylor (22 June 2017). "Cops investigate death threats made against "Caesar" director's wife". Salon . Retrieved 23 June 2017.
54. ^ Mantyla, Kyle (20 June 2017). "Sandy Rios Sees No Difference Betwixt Shakespeare And Feeding Christians to the Lions". Right Fly Sentry . Retrieved 23 June 2017.

Secondary sources [edit]

• Boyce, Charles. 1990. Encyclopaedia of Shakespeare, New York, Roundtable Printing.
• Chambers, Edmund Kerchever. 1923. The Elizabethan Stage. four volumes, Oxford: Oxford University Press. ISBN 0-19-811511-three.
• Halliday, F. E. 1964. A Shakespeare Companion 1564–1964. Shakespeare Library ser. Baltimore, Penguin, 1969. ISBN 0-14-053011-viii.
• Houppert, Joseph W. "Fatal Logic in 'Julius Caesar'". S Atlantic Bulletin. Vol. 39, No.4. November. 1974. 3–9.
• Kahn, Coppelia. "Passions of some difference": Friendship and Emulation in Julius Caesar. Julius Caesar: New Critical Essays. Horst Zander, ed. New York: Routledge, 2005. 271–283.
• Parker, Barbara L. "The Whore of Babylon and Shakespeares'south Julius Caesar." Studies in English Literature (Rice); Spring95, Vol. 35 Issue 2, p. 251, 19p.
• Reynolds, Robert C. "Ironic Epithet in Julius Caesar". Shakespeare Quarterly. Vol. 24. No.3. 1973. 329–333.
• Taylor, Myron. "Shakespeare's Julius Caesar and the Irony of History". Shakespeare Quarterly. Vol. 24, No. 3. 1973. 301–308.
• Wells, Stanley and Michael Dobson, eds. 2001. The Oxford Companion to Shakespeare Oxford University Press

External links [edit]

• Consummate Annotated Text on Ane Page
• Text of Julius Caesar, fully edited by John Cox, as well as original-spelling text, facsimiles of the 1623 Folio text, and other resources, at the Internet Shakespeare Editions
• Julius Caesar Navigator Includes Shakespeare's text with notes, line numbers, and a search function.
• No Fear Shakespeare Archived 23 November 2015 at the Wayback Auto Includes the play line by line with interpretation.
• Julius Caesar at the British Library
• Julius Caesar at Standard Ebooks
• Julius Caesar at Project Gutenberg
• Julius Caesar – by The Tech
• Julius Caesar – Searchable and scene-indexed version.
• Julius Caesar in mod English language
• Lesson plans for Julius Caesar at Web English Teacher
• Julius Caesar public domain audiobook at LibriVox
• Quicksilver Radio Theater adaptation of Julius Caesar, which may exist heard online, at PRX.org (Public Radio Exchange).
• Julius Caesar Read Online in Wink version.
• Clear Shakespeare Julius Caesar – A give-and-take-by-word audio guide through the play.

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Source: https://en.wikipedia.org/wiki/Julius_Caesar_%28play%29

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