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Julius Caesar by William Shakespeare
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Julius Caesar

by William Shakespeare

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I am not a Shakespearean scholar; I am just a reader. But upon my study of Julius Caesar over the course of a week, I loved the overall theme of honor and “heroes.” I’m sure there are many ways of reading this play; these are just some thoughts on one theme.

I found that most of the characters were despicable. They were politicians with a certain level of power and they took advantage of the masses.

But, to me, Brutus’s intentions made him honorable. Out of all the characters, his was the most likable because he wasn’t acting simply for himself. I wanted Brutus to be able to succeed.

I think part of his downfall was choosing to join with others who lacked honor in every sense of the word. While he acted for Rome, they did not. Therefore, the cause was hopeless from the beginning. In a sense, his tragedy was having the wrong friends. Honorable Brutus’s fall was then the true tragedy.

I think Brutus was a tragic hero, or, as Antony says, “This was a man” (V.v.75). For don’t we all, as humans, face tragedy in our lives, despite our best intentions?

More thoughts on my blog
rebeccareid | Jul 7, 2009 |  
Because Antony is a bad mamma-jamma whose speeches kick ass. ( )
snat | Mar 23, 2009 |  
I read this play during my Sophomore year of high school. I loved it! "Et tu, Brute!" I thought of it again because I'm reading "A Long Way Gone", and this play is referenced frequently. ( )
rfewell | Jan 27, 2009 |  
http://nhw.livejournal.com/1129384.ht...

I probably know this best of all the Shakespeare plays - I'm pretty sure it was the one I did for O-level. It is very good. It is unusual in that the title character is killed off before the halfway point; the play is really about the fall of Brutus, and his relations with his ally Cassius, his enemy Antony, his wife Portia and of course his victim Caesar.

The dramatic climax is very early, in Act 3, with the murder of Caesar and then Mark Antony's funeral oration. The rest of the play is really mopping up the aftermath. Brutus' sense of honour is insufficient to see him through, as he bickers with Cassius and makes a series of strategic and tactical blunders; meanwhile, Antony swallows his dislike of Octavian in order to take power.

Like Henry V, it's difficult not to read this in the context of what was happening in 1599; in which case this is the more Essex-sceptic play, of people grasping for power and not quite making it (while the righteous dynastic heir, off in the fringes, takes the power which is his due when the time is right). The character of Mark Antony doesn't fit terribly well into that analysis - which perhaps means that it is not terribly well founded!

Having whined about the Arkangel productions of the last three plays, I was glad to see a return to form here, especially from the three leads - Adrian Lester as Antony, John Bowe as Brutus and Michael Feast as a rather young-sounding Caesar. It's also good to hear, for once in this series, a black actor cast in a part that is usually "white". This is solid stuff, and very enjoyable. ( )
nwhyte | Dec 11, 2008 |  
Condition good with pencil markings throughout; spine good
jnajack | Oct 1, 2008 |  
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Series (with order)
Canonical Title
Original publication date
People/Characters
Important places
Important events
Awards and honors
Epigraph
Dedication
First words
Hence! home, you idle creatures, get you home; Is this a holiday?
Quotations
There is a tide in the affairs of men
Which, taken at the flood, leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries.
On such a full sea are we now afloat,
And we must take the current when it serves,
Or lose our ventures.
Last words
(Click to show. Warning: May contain spoilers.)
Disambiguation notice
Publisher's editors
Blurbers
Book description

Amazon.com Product Description (ISBN 0671722719, Mass Market Paperback)

The Boynton/Cook editions of four of Shakespeare's most popular plays have been reissued with attractive new cover designs and printed on more opaque, easy-to-read paper. This series is specifically designed for high school classes.

  • Students will be able to see each play as a whole. In their introduction to each of the plays, editors Mack and Boynton suggest ways of approaching the text that allow the reader a broad range of imaginative involvement. Their observations are intended to help students read and experience the play, not to discourage them with critical jargon or peripheral historical information.
  • Students will be reading the best text both in terms of visual excellence and quality of scholarship. They'll immediately appreciate the large page format and highly readable typography. Each volume is consistent with the most authoritative early edition of each play. The glosses are full and clear but don't belabor the obvious or clutter the text.
  • Background information includes the editors' detailed analysis of the Elizabethan theatre and its relation to Shakespeare's dramaturgy, C. W. Hodges's drawing re-creating the original Globe Playhouse, a brief account of Shakespeare's life and a chronological listing of his works, and a bibliography, lists of videotapes (VHS), records, and tapes of the complete plays.
  • Students will experience added critical and imaginative dimensions. An essay following each play suggests ways of approaching it as a live dramatic experience in the theatre of the mind. The concern is not how the play might be produced in a theatre, but rather how parts of it may be realized in the imagination through close attention to what the language is saying and suggesting.
  • Students can get a deeper understanding of each scene through helpful, detailed questions included at the back of each volume. These questions encourage group discussion or written response. Also included are topics for longer papers.

(retrieved from Amazon Fri, 24 Apr 2009 07:58:05 -0400)

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