Rhetoric Of Brutus And Mark Antony In Shakespeares Julius Caesar

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Rhetoric Of Brutus And Mark Antony In Shakespeares Julius Caesar



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Damian Lewis as Antony in Julius Caesar: 'Friends, Romans, countrymen' - Shakespeare Solos

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This theme of children controlling, even destroying, their parents is echoed in a fully developed subplot involving old Gloucester and his two sons, Edmund and Edgar. With Cordelia and Edgar cast out—the former to live in France, the latter in disguise as Poor Tom—Lear and Gloucester suffer the punishing consequences of their sins. Gloucester, who is also lacking insight into the true natures of his sons, is cruelly blinded by Regan and her husband and cast out from his own house to journey to Dover.

On the way, he is joined by his disguised son, who helps Gloucester undergo a regeneration of faith before he expires. Cordelia performs a similar task for Lear, whose recovery can be only partial, because of his madness. After Cordelia is captured and killed by the forces of Edmund, whose brother conquers him in single combat, Lear, too, expires while holding the dead Cordelia in his arms. This wrenching ending, with its nihilistic overtones, is only one of the elements that places this play among the richest and most complex tragedies in English. More than any other Shakespearean tragedy, King Lear also succeeds in dramatizing the relationship between the microcosm, or little world of humankind, and the macrocosm, or larger world.

At the moment when Lear bursts into tears, a frightening storm breaks out, and civil war soon follows. Gloucester must learn a similar lesson, although his dilemma involves a crisis of faith. Just as he realizes that Cordelia represents those qualities of truth and compassion that he has been lacking, she is suddenly and violently taken from him. Macbeth treats the de casibus theme of the fall of princes, but from a different perspective. Once that deed is done, Macbeth finds himself unable to sleep, a victim of conscience and guilt. Although Lady Macbeth tries to control his fears, she proves unsuccessful, and her influence wanes rapidly.

Immediately, Macbeth rushes to the witches to seek proof that he is invincible. They tell him that he will not be conquered until BirnamWood comes to Dunsinane and that no man born of woman can kill him. Seeking to tighten his control of Scotland and to quiet his conscience, Macbeth launches a reign of terror during which his henchmen kill Lady Macduff and her children. Macbeth is also depicted as a Herod figure recalling Richard III when he murders the innocent children of Macduff in an obsessive fit brought on by the realization that he is childless and heirless. Two strains of imagery reinforce this perception, featuring recurring references to blood and to children.

Macduff, on the other hand, in tears over the brutal murder of his wife and children, emerges as a stronger and more compassionate man because he has shown himself capable of deep feeling. If the play was written to honor James I, it might also be argued that the comparison between his reign and that of Christ was intended. Written soon after Macbeth , Antony and Cleopatra again traces the complex psychological patterns of a male-female relationship.

Like Lady Macbeth, Cleopatra appears to control and direct the behavior of her man, Antony, but as the play progresses, she, too, begins to lose power. These wild and desperate moves are commented on by Enobarbus, associate of Antony and choric voice. After the threat of single combat, Enobarbus leaves his master to join forces with Octavius. Overcome by remorse, however, Enobarbus dies on the eve of battle. Believing that Cleopatra has killed herself, Antony decides to commit suicide and calls on his servant Eros to hold his sword so that he can run himself on it. Instead, Eros kills himself, and Antony must strike the blow himself. Still alive, he is carried to the monument where Cleopatra has decided to take up residence.

Putting on her royal robes and applying the poison asps to her breast, Cleopatra hurries off to join her lover in eternity. This complicated story is brilliantly organized by means of placing in balance the two worlds of Rome and Egypt. While Rome is presented as a cold, calculating place, reflective of the character of Octavius, Egypt stands out as a lush paradise in which the pursuit of pleasure is the main business of the inhabitants.

Water and serpent imagery dominate the play, creating a picture of Cleopatra as a Circe figure or a spontaneously generated creature that has seduced the once heroic Antony. She is beautiful and playful, demanding and witty, cool and explosive. Antony and Cleopatra, however, have found a world of love that Octavius could never enter, and the tragedy is as much concerned with tracing the boundaries of that empire as it is with marking the triumphs of Octavius. Composed in the period between and , Coriolanus dramatizes the career of a general in Republican Rome. He proves to be a superhuman figure in battle, earning his name by single-handedly subduing the town of Corioles and emerging from its gates covered in blood.

This birth image has a mixed meaning, since the blood is that of his victims. Unfortunately, Coriolanus refuses to humble himself before the Roman plebeians, whom he despises, as a requirement for holding the office of consul. Indeed, many of his bitter comments about the fickleness and cowardice of the populace remind one of characters such as Thersites and Apemantus. Such contempt and condescension make it hard to identify with Coriolanus, even though one is made aware that the Roman crowd is set against him by the jealous and ambitious tribunes, Brutus and Sicinius.

He then joins forces with his former enemy Aufidius, and the two of them lead an army to the very gates of Rome. Aufidius agrees but awaits his opportunity to ambush his partner, whom he regards as a lifelong enemy. In a masterstroke of irony, Coriolanus is brought down by the citizens of the very town—Corioles—that he conquered in acquiring his name. If Hamlet, Othello, Macbeth, and Lear possess tragic flaws, those flaws are only a part of their complicated makeup. Coriolanus, on the other hand, can be understood only in terms of his flaw, and the character and play are therefore one-dimensional.

These dramas continue to appeal to audiences because their stories are intriguing; because their characters are fully realized human beings, if somewhat larger than life; and because their poetic language is metaphorically rich. Shakespeare possessed a profound insight into human nature and an ability to reveal what he found there in language unequaled in its power and beauty. In the later years of his career, Shakespeare returned to writing comedy of a special kind: tragicomedy or romance. Three of these portray situations in which fathers are separated from daughters, then are rejoined through some miraculous turn of fortune. The plays also involve travel to exotic locales by the heroes and heroines, and, except for The Tempest, they portray events which occur over a span of many years.

Sharp contrasts between court and pastoral settings vivify the theme of nature as the ideal teacher of moral values. All the plays witness the power of faith as instrumental in the process of regeneration; the loyal counselor or servant is a regular character type in the plays. The general outlook of the romances is optimistic, suggesting that humankind is indeed capable of recovering from the Fall and of creating a new Paradise. Pericles recounts the adventures of a good king who seems hounded by fortune and forced to wander through the Mediterranean.

The plot is faintly reminiscent of that of The Comedy of Errors , suggesting that Shakespeare was returning to tested materials from his earliest comedies. He then leaves his daughter Marina in the care of a scheming queen, who tries to have her murdered. Instead, Marina is captured by pirates and eventually is sold to a brothel owner. After many years of lonely sojourning, Pericles is finally reunited with his daughter; later, through the offices of a doctor figure named Cerimon, they find Thaisa in the temple of Diana at Ephesus, where she has been resting for years.

Cymbeline , set in ancient Britain, recounts the misfortunes of its characters against the background of the Roman invasion of England. The tragicomedy has strong patriotic overtones, but it does not qualify as a history play such as those in the two tetralogies. While in exile in Italy, Posthumus brags to an Italian acquaintance, Iachimo, that his beloved would never consider deceiving him. As a result of numerous plot turns, one of which calls for Imogen to disguise herself as a page, the two lovers are finally reunited when Iachimo confesses his sin.

Comingled with this strain of plot is another involving two sons of Cymbeline who have been reared in the rugged world of caves and mountains by an old counselor banished by the king. He originally kidnapped the boys to seek revenge against Cymbeline. In a climactic scene brought about by the Roman invasion, the mountain-men heroes are reunited with their father and sister, whom all believed was dead. So complex is the plot that many readers and audiences have found the play confusing and sometimes unintentionally humorous.

The characters are not fully developed, and it is difficult to determine just what is the central story. Here, too, spectacle overpowers dialogue and characterization, with little or no attention paid to plausibility. Shakespeare seems preoccupied with demonstrating the healthfulness of pastoral life, the patriotic spirit of Englishmen, and the melodramatic quality of evil. Clearly, this agenda of themes and values places one in a comic world that is distinct from the one that typifies the mature comedies. His jealousy leads him to accuse his wife, Hermione, of unfaithfulness with his friend and fellow king Polixenes. When Leontes confronts her, even after consultation of the oracle indicates her honesty, she faints and apparently expires.

Leontes banishes the child Perdita, who is his daughter but whom he refuses to acknowledge because of his suspicions, and the third act ends with a loyal servant depositing the baby on the shore of Bohemia to be favored or destroyed by Fortune. As sixteen years pass, she grows into a kind of pastoral queen, revealing those traits of goodness and innocence that Shakespeare associates with the Golden Age. She and Florizel are married, and the two kings are reunited in friendship. As a final tour de force, Hermione, who has been hidden away for the whole time by another loyal servant, comes to life as a statue supposedly sculpted by a famous artist. As in the other romances, some divine force has obviously been operating in the affairs of humans to bring about this happy reunion of families, friends, and countries.

The Tempest is the only romance in which father and daughter are together from the beginning. It also possesses the only plot that observes the classical unities of time and place. There can be no question that The Tempest is a refined and elevating statement of the themes of Providence and of order and degree. Prospero, the duke of Milan, exiled by his usurping brother Antonio, vows to punish both Antonio and his chief supporter, King Alonso. The two are aboard a ship sailing near the island on which Prospero and his daughter Miranda reside.

Both rebellions fail, but instead of punishing his victims further, Prospero, moved by the compassion displayed by Ariel, decides to give up his magic and return to civilization. The decision proves crucial, since Prospero was on the verge of becoming a kind of Faust, forgetting his identity as a man. Instead of revenging himself on Alonso, Prospero allows Ferdinand to woo Miranda in a mood and manner that recall Eden before the Fall. The Two Noble Kinsmen was probably one of the plays composed during that period.

It is not included in the First Folio published It appeared in print in and bearing a title page ascribing the comedy to John Fletcher and William Shakespeare. Although collaboration was common among Elizabethan and Jacobean playwrights, it was not a form of composition in which Shakespeare regularly engaged. Because Henry VIII was also most likely a collaborative effort, there seems to be compelling evidence that Shakespeare was enjoying a state of semiretirement during this period. The play is similar to the other romances in its emphasis on spectacle. It opens with a magnificent wedding ceremony before the Temple of Hymen, and there are excursions to the shrines of Mars and Diana as well.

However, there are no scenes of regeneration involving fathers and daughters, no emphasis on the forgiveness of sin. On the whole, the romances represent a more sophisticated but less playful and inventive style than that of the character-oriented comedies, such as Twelfth Night and Much Ado About Nothing. They are the work of a playwright at the height of his powers, and they perhaps reveal the issues with which Shakespeare came to grapple in his later years: familial relationships, faith and redemption, and the legacy of each generation to its successors. Bibliography Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, Brown, John Russell.

Shakespeare: The Tragedies. New York: Palgrave, Danson, Lawrence. New York: Oxford University Press, De Grazia, Margreta, and Stanley Wells, eds. The Cambridge Companion to Shakespeare. New York: Cambridge University Press, Dobson, Michael, and StanleyWells, eds. The Oxford Companion to Shakespeare. Oxford, England: Oxford University Press, Draper, Ronald P. Shakespeare, the Comedies. New York: St. Duncan-Jones, Katherine. Ungentle Shakespeare: Scenes from His Life. London: Arden Shakespeare, Holderness, Graham. Shakespeare: The Histories. Honan, Park. Shakespeare: A Life.

Kermode, Frank. McConnell, Louise. Dictionary of Shakespeare. Chicago: Fitzroy Dearborn, McLeish, Kenneth, and Stephen Unwin. London: Faber and Faber, Marsh, Nicholas. Many of his plays appeared in print as a series of quartos , but approximately half of them remained unpublished until , when the posthumous First Folio was published. The traditional division of his plays into tragedies, comedies, and histories follows the categories used in the First Folio. However, modern criticism has labeled some of these plays " problem plays " that elude easy categorisation, or perhaps purposely break generic conventions, and has introduced the term romances for what scholars believe to be his later comedies.

When Shakespeare first arrived in London in the late s or early s, dramatists writing for London's new commercial playhouses such as The Curtain were combining two strands of dramatic tradition into a new and distinctively Elizabethan synthesis. Previously, the most common forms of popular English theatre were the Tudor morality plays. These plays, generally celebrating piety , use personified moral attributes to urge or instruct the protagonist to choose the virtuous life over Evil.

The characters and plot situations are largely symbolic rather than realistic. As a child, Shakespeare would likely have seen this type of play along with, perhaps, mystery plays and miracle plays. The other strand of dramatic tradition was classical aesthetic theory. This theory was derived ultimately from Aristotle ; in Renaissance England , however, the theory was better known through its Roman interpreters and practitioners.

At the universities, plays were staged in a more academic form as Roman closet dramas. These plays, usually performed in Latin , adhered to classical ideas of unity and decorum , but they were also more static, valuing lengthy speeches over physical action. Shakespeare would have learned this theory at grammar school, where Plautus and especially Terence were key parts of the curriculum [2] and were taught in editions with lengthy theoretical introductions. Archaeological excavations on the foundations of the Rose and the Globe in the late twentieth century [4] showed that all London English Renaissance theatres were built around similar general plans. Despite individual differences, the public theatres were three stories high and built around an open space at the center.

Usually polygonal in plan to give an overall rounded effect, three levels of inward-facing galleries overlooked the open center into which jutted the stage—essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony , as in Romeo and Juliet , or as a position for a character to harangue a crowd, as in Julius Caesar. Usually built of timber, lath and plaster and with thatched roofs, the early theatres were vulnerable to fire, and gradually were replaced when necessary with stronger structures. When the Globe burned down in June , it was rebuilt with a tile roof.

A different model was developed with the Blackfriars Theatre , which came into regular use on a long term basis in The Blackfriars was small in comparison to the earlier theatres, and roofed rather than open to the sky; it resembled a modern theatre in ways that its predecessors did not. For Shakespeare, as he began to write, both traditions were alive; they were, moreover, filtered through the recent success of the University Wits on the London stage. By the late 16th century, the popularity of morality and academic plays waned as the English Renaissance took hold, and playwrights like Thomas Kyd and Christopher Marlowe revolutionised theatre.

Their plays blended the old morality drama with classical theory to produce a new secular form. However, it was more ambiguous and complex in its meanings, and less concerned with simple allegory. Inspired by this new style, Shakespeare continued these artistic strategies, [6] creating plays that not only resonated on an emotional level with audiences but also explored and debated the basic elements of what it means to be human. What Marlowe and Kyd did for tragedy, John Lyly and George Peele , among others, did for comedy: they offered models of witty dialogue, romantic action, and exotic, often pastoral location that formed the basis of Shakespeare's comedic mode throughout his career.

Shakespeare's Elizabethan tragedies including the history plays with tragic designs, such as Richard II demonstrate his relative independence from classical models. He takes from Aristotle and Horace the notion of decorum; with few exceptions, he focuses on high-born characters and national affairs as the subject of tragedy. In most other respects, though, the early tragedies are far closer to the spirit and style of moralities. They are episodic, packed with character and incident; they are loosely unified by a theme or character.

Even in his early work, however, Shakespeare generally shows more restraint than Marlowe; he resorts to grandiloquent rhetoric less frequently, and his attitude towards his heroes is more nuanced, and sometimes more sceptical, than Marlowe's. In comedy, Shakespeare strayed even further from classical models. The Comedy of Errors , an adaptation of Menaechmi , follows the model of new comedy closely. Shakespeare's other Elizabethan comedies are more romantic. Like Lyly, he often makes romantic intrigue a secondary feature in Latin new comedy the main plot element; [10] even this romantic plot is sometimes given less attention than witty dialogue, deceit, and jests.

The "reform of manners," which Horace considered the main function of comedy, [11] survives in such episodes as the gulling of Malvolio. Shakespeare reached maturity as a dramatist at the end of Elizabeth's reign, and in the first years of the reign of James. In these years, he responded to a deep shift in popular tastes, both in subject matter and approach. At the turn of the decade, he responded to the vogue for dramatic satire initiated by the boy players at Blackfriars and St. At the end of the decade, he seems to have attempted to capitalise on the new fashion for tragicomedy , [12] even collaborating with John Fletcher , the writer who had popularised the genre in England.

The influence of younger dramatists such as John Marston and Ben Jonson is seen not only in the problem plays, which dramatise intractable human problems of greed and lust, but also in the darker tone of the Jacobean tragedies. As a sharer in both the Globe and in the King's Men, Shakespeare never wrote for the boys' companies; however, his early Jacobean work is markedly influenced by the techniques of the new, satiric dramatists. One play, Troilus and Cressida , may even have been inspired by the War of the Theatres.

Shakespeare's final plays hark back to his Elizabethan comedies in their use of romantic situation and incident. This change is related to the success of tragicomedies such as Philaster , although the uncertainty of dates makes the nature and direction of the influence unclear. From the evidence of the title-page to The Two Noble Kinsmen and from textual analysis it is believed by some editors that Shakespeare ended his career in collaboration with Fletcher, who succeeded him as house playwright for the King's Men.

During the reign of Queen Elizabeth, "drama became the ideal means to capture and convey the diverse interests of the time. Later on, he retired at the height of the Jacobean period, not long before the start of the Thirty Years' War. His verse style, his choice of subjects, and his stagecraft all bear the marks of both periods. While many passages in Shakespeare's plays are written in prose , he almost always wrote a large proportion of his plays and poems in iambic pentameter. In some of his early works like Romeo and Juliet , he even added punctuation at the end of these iambic pentameter lines to make the rhythm even stronger. To end many scenes in his plays he used a rhyming couplet to give a sense of conclusion, or completion.

Shakespeare's writing especially his plays also feature extensive wordplay in which double entendres and rhetorical flourishes are repeatedly used. Although a large amount of his comical talent is evident in his comedies, some of the most entertaining scenes and characters are found in tragedies such as Hamlet and histories such as Henry IV, Part 1. Shakespeare's humour was largely influenced by Plautus. Shakespeare's plays are also notable for their use of soliloquies , in which a character makes a speech to him- or herself so the audience can understand the character's inner motivations and conflict. In his book Shakespeare and the History of Soliloquies , James Hirsh defines the convention of a Shakespearean soliloquy in early modern drama. He argues that when a person on the stage speaks to himself or herself, they are characters in a fiction speaking in character; this is an occasion of self-address.

Furthermore, Hirsh points out that Shakespearean soliloquies and " asides " are audible in the fiction of the play, bound to be overheard by any other character in the scene unless certain elements confirm that the speech is protected. Therefore, a Renaissance playgoer who was familiar with this dramatic convention would have been alert to Hamlet 's expectation that his soliloquy be overheard by the other characters in the scene. Moreover, Hirsh asserts that in soliloquies in other Shakespeare plays, the speaker is entirely in character within the play's fiction. Saying that addressing the audience was outmoded by the time Shakespeare was alive, he "acknowledges few occasions when a Shakespearean speech might involve the audience in recognising the simultaneous reality of the stage and the world the stage is representing.

As was common in the period, Shakespeare based many of his plays on the work of other playwrights and recycled older stories and historical material. His dependence on earlier sources was a natural consequence of the speed at which playwrights of his era wrote; in addition, plays based on already popular stories appear to have been seen as more likely to draw large crowds. There were also aesthetic reasons: Renaissance aesthetic theory took seriously the dictum that tragic plots should be grounded in history. The Ur-Hamlet may in fact have been Shakespeare's, and was just an earlier and subsequently discarded version.

This structure did not apply to comedy, and those of Shakespeare's plays for which no clear source has been established, such as Love's Labour's Lost and The Tempest , are comedies. Even these plays, however, rely heavily on generic commonplaces. While there is much dispute about the exact chronology of Shakespeare's plays , the plays tend to fall into three main stylistic groupings. The first major grouping of his plays begins with his histories and comedies of the s. Shakespeare's earliest plays tended to be adaptations of other playwrights' works and employed blank verse and little variation in rhythm. However, after the plague forced Shakespeare and his company of actors to leave London for periods between and , Shakespeare began to use rhymed couplets in his plays, along with more dramatic dialogue.

Almost all of the plays written after the plague hit London are comedies, perhaps reflecting the public's desire at the time for light-hearted fare. The middle grouping of Shakespeare's plays begins in with Julius Caesar. For the next few years, Shakespeare would produce his most famous dramas, including Macbeth , Hamlet , and King Lear. The plays during this period are in many ways the darkest of Shakespeare's career and address issues such as betrayal, murder, lust, power and egoism.

The romances are so called because they bear similarities to medieval romance literature. Among the features of these plays are a redemptive plotline with a happy ending, and magic and other fantastic elements. Except where noted, the plays below are listed, for the thirty-six plays included in the First Folio of , according to the order in which they appear there, with two plays that were not included Pericles, Prince of Tyre and The Two Noble Kinsmen being added at the end of the list of comedies and Edward III at the end of the list of histories.

Note : Plays marked with LR are now commonly referred to as the " late romances ". Plays marked with PP are sometimes referred to as the " problem plays ". The three plays marked with FF were not included in the First Folio. Like most playwrights of his period, Shakespeare did not always write alone, and a number of his plays were collaborative, although the exact number is open to debate. Some of the following attributions, such as for The Two Noble Kinsmen , have well-attested contemporary documentation; others, such as for Titus Andronicus , remain more controversial and are dependent on linguistic analysis by modern scholars.

Note: For a comprehensive account of plays possibly by Shakespeare or in part by Shakespeare, see the separate entry on the Shakespeare Apocrypha. Unlike his contemporary Ben Jonson , Shakespeare did not have direct involvement in publishing his plays and produced no overall authoritative version of his plays before he died. As a result, the problem of identifying what Shakespeare actually wrote is a major concern for most modern editions. Most of all, we are proud of our dedicated team, who has both the creativity and understanding of our clients' needs. Our writers always follow your instructions and bring fresh ideas to the table, which remains a huge part of success in writing an essay.

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