julius caesar (play) - wikipedia, the free encyclopedia.pdf

The ghost of Caesar taunts Brutus about

his imminent defeat. (Copperplate

engraving by Edward Scriven from a

painting by Richard Westall: London,

1802.)

From Wikipedia, the free encyclopedia

The Tragedy of Julius Caesar, also known simply as JuliusCaesar, is a tragedy by William Shakespeare, believed to have

been written in 1599.[1] It portrays the 44 BC conspiracy againstthe Roman dictator Julius Caesar, his assassination and thedefeat of the conspirators at the Battle of Philippi. It is one ofseveral Roman plays that Shakespeare wrote, based on trueevents from Roman history, which also include Coriolanus andAntony and Cleopatra.

Although the title is Julius Caesar, Julius Caesar is not the mostvisible character in its action; he appears in only three scenes,and is killed at the beginning of the third act. Marcus Brutusspeaks more than four times as many lines, and the centralpsychological drama is his struggle between the conflictingdemands of honor, patriotism, and friendship.

1 Characters2 Synopsis3 Date and text

3.1 Deviations from Plutarch4 Analysis and criticism

4.1 Historicism4.2 Protagonist debate

5 Performance history6 Notable performances

6.1 Screen performances7 Adaptations and cultural references8 See also9 References

9.1 Footnotes9.2 Secondary sources

10 External links

Julius CaesarCalpurnia: Wife of CaesarOctavius, Mark Antony, Lepidus: Triumvirsafter the death of Julius CaesarCicero, Publius, Popilius Lena: SenatorsBrutus, Cassius, Casca, Trebonius, Ligarius,Decius Brutus, Metellus Cimber, Cinna:

Cinna: A poet, who is not related to theconspiracyLucilius, Titinius, Messala, Cato the Younger,Volumnius, Strato: Friends to Brutus andCassiusVarro, Clitus, Claudius: Soldiers in the armiesof Brutus and Cassius

Julius Caesar (play) - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Julius_Caesar_(play)

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Conspirators against Julius CaesarPortia: Wife of BrutusFlavius and Marullus: TribunesArtemidorus: a Sophist of CnidosA Soothsayer

Labe, Flavius: Officers in the army of BrutusLucius, Dardanius: Servants to BrutusPindarus: Servant to CassiusA Poet (believed to be based on Marcus

Favonius)[2]

A messengerA cobblerA carpenterOther soldiers, senators, plebeians, andattendants

Marcus Brutus is Caesar's close friend and a Roman praetor. Brutus allows himself to be cajoled into joininga group of conspiring senators because of a growing suspicion—implanted by Caius Cassius—that Caesarintends to turn republican Rome into a monarchy under his own rule.

The early scenes deal mainly with Brutus's arguments with Cassius and his struggle with his ownconscience. The growing tide of public support soon turns Brutus against Caesar (this public support wasactually faked; Cassius wrote letters to Brutus in different handwritings over the next month in order to get

Brutus to join the conspiracy). A soothsayer warns Caesar to "beware the Ides of March",[3] which heignores, culminating in his assassination at the Capitol by the conspirators that day, despite being warned bythe soothsayer and Artemidrous, one of Caesar's supporters at the entrance of the Capitol.

Caesar's assassination is one of the most famous scenes of the play, occurring in Act 3 (the other is MarkAntony's oration "Friends, Romans, countrymen.") After ignoring the soothsayer as well as his wife's ownpremonitions, Caesar comes to the Senate. The conspirators create a superficial motive for the assassinationby means of a petition brought by Metellus Cimber, pleading on behalf of his banished brother. As Caesar,predictably, rejects the petition, Casca grazes Caesar in the back of his neck, and the others follow in

stabbing him; Brutus is last. At this point, Caesar utters the famous line "Et tu, Brute?"[4] ("And you,Brutus?", i.e. "You too, Brutus?"). Shakespeare has him add, "Then fall, Caesar," suggesting that Caesar didnot want to survive such treachery, therefore becoming a hero.

The conspirators make clear that they committed this act for Rome, not for their own purposes and do notattempt to flee the scene. After Caesar's death, Brutus delivers an oration defending his actions, and for themoment, the crowd is on his side. However, Mark Antony, with a subtle and eloquent speech over Caesar's

corpse—beginning with the much-quoted "Friends, Romans, countrymen, lend me your ears"[5]—deftlyturns public opinion against the assassins by manipulating the emotions of the common people, in contrastto the rational tone of Brutus's speech. Antony rouses the mob to drive the conspirators from Rome. Amidthe violence, the innocent poet, Cinna, is confused with the conspirator Lucius Cinna and is murdered by themob.

The beginning of Act Four is marked by the quarrel scene, where Brutus attacks Cassius for soiling thenoble act of regicide by accepting bribes ("Did not great Julius bleed for justice' sake? / What villain touch'd

his body, that did stab, / And not for justice?"[6]) The two are reconciled; they prepare for war with MarkAntony and Caesar's adopted son, Octavian (Shakespeare's spelling: Octavius). That night, Caesar's ghost

appears to Brutus with a warning of defeat ("thou shalt see me at Philippi"[7]).

At the battle, Cassius and Brutus knowing they will probably both die, smile their last smiles to each otherand hold hands. During the battle, Cassius commits suicide after hearing of the capture of his best friend,Titinius. After Titinius, who wasn't really captured, sees Cassius's corpse, he commits suicide. However,


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Facsimile of the first

page of Julius Caesar

from the First Folio,

published in 1623

Brutus wins that stage of the battle - but his victory is not conclusive. With a heavy heart, Brutus battlesagain the next day. He loses and commits suicide.

The play ends with a tribute to Brutus by Antony, who proclaims that Brutus has remained "the noblest

Roman of them all"[8] because he was the only conspirator who acted for the good of Rome. There is then asmall hint at the friction between Mark Antony and Octavius which will characterise another ofShakespeare's Roman plays, Antony and Cleopatra.

Julius Caesar was originally published in the First Folio of 1623, but aperformance was mentioned by Thomas Platter the Younger in his diary inSeptember 1599. The play is not mentioned in the list of Shakespeare's playspublished by Francis Meres in 1598. Based on these two points, as well as anumber of contemporary allusions, and the belief that the play is similar to

Hamlet in vocabulary, and to Henry V and As You Like It in metre,[9] scholars

have suggested 1599 as a probable date.[10]

The text of Julius Caesar in the First Folio is the only authoritative text for theplay. The Folio text is notable for its quality and consistency; scholars judge it

to have been set into type from a theatrical prompt-book.[11] The source used byShakespeare was Sir Thomas North's translation of Plutarch's Life of Brutus and

Life of Caesar[12]

The play contains many anachronistic elements from the Elizabethan period.The characters mention objects such as hats and doublets (large, heavy jackets)– neither of which existed in ancient Rome. Caesar is mentioned to be wearingan Elizabethan doublet instead of a Roman toga. At one point a clock is heard to strike and Brutus notes itwith "Count the clock".

Deviations from Plutarch

Shakespeare makes Caesar's triumph take place on the day of Lupercalia (15 February) instead of sixmonths earlier.For greater dramatic effect he has made the Capitol the venue of Caesar's death rather than theTheatrum Pompeium (Theatre of Pompey).Caesar's murder, the funeral, Antony's oration, the reading of the will and the arrival of Octavius alltake place on the same day in the play. However, historically, the assassination took place on 15March (The Ides of March), the will was published on 18 March, the funeral was on 20 March andOctavius arrived only in May.Shakespeare makes the Triumvirs meet in Rome instead of near Bolonia, so as to avoid an additionallocale.He has combined the two Battles of Philippi although there was a 20-day interval between them.Shakespeare gives Caesar's last words as "Et tu, Brute? ("And you, Brutus?")Plutarch says he said

nothing, pulling his toga over his head when he saw Brutus among the conspirators. [13] However,Suetonius reports his last words, which he spoke in Greek, as "καί σύ τέκνον" ("Kai su, teknon?";

"Even you too, child?") directed at Brutus.[14] The Latin words Et tu, Brute?, however, were notdevised by Shakespeare for this play, since they are attributed to Caesar in earlier Elizabethan worksand had become conventional by 1599.

Shakespeare deviated from these historical facts in order to curtail time and compress the facts so that the


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play could be staged more easily. The tragic force is condensed into a few scenes for heightened effect.

Historicism

Maria Wyke has written that the play reflects the general anxiety of Elizabethan England over succession ofleadership. At the time of its creation and first performance, Queen Elizabeth, a strong ruler, was elderly andhad refused to name a successor, leading to worries that a civil war similar to that of Rome might break out

after her death.[15]

Protagonist debate

Critics of Shakespeare’s play Julius Caesar differ greatly on their views of Caesar and Brutus. Many havedebated whether Caesar or Brutus is the protagonist of the play, because of the title character's death in 3.1.But Caesar compares himself to the Northern Star, and perhaps it would be foolish not to consider him as theaxial character of the play, around whom the entire story turns. Intertwined in this debate is a smattering ofphilosophical and psychological ideologies on republicanism and monarchism. One author, Robert C.Reynolds, devotes attention to the names or epithets given to both Brutus and Caesar in his essay “IronicEpithet in Julius Caesar”. This author points out that Casca praises Brutus at face value, but theninadvertently compares him to a disreputable joke of a man by calling him an alchemist, “Oh, he sits high inall the people’s hearts,/And that which would appear offence in us/ His countenance, like richest alchemy,/Will change to virtue and to worthiness” (I.iii.158-60). Reynolds also talks about 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 inward chaos.[16] In that essay, the conclusion as to who is thehero or protagonist is ambiguous because of the conceit-like poetic quality of the epithets for Caesar andBrutus.

Myron Taylor, in his essay “Shakespeare’s Julius Caesar and the Irony of History”, compares the logic andphilosophies of Caesar and Brutus. Caesar is deemed an intuitive philosopher who is always right when hegoes with his gut, for instance when he says he fears Cassius as a threat to him before he is killed, hisintuition is correct. Brutus is portrayed as a man similar to Caesar, but whose passions lead him to the wrongreasoning, which he realises in the end when he says in V.v.50–51, “Caesar, now be still:/ I kill’d not thee

with half so good a will”.[17] This interpretation is flawed by the fact it relies on a very odd reading of "gooda will" to mean "incorrect judgements" rather than the more intuitive "good intentions."

Joseph W. Houppert acknowledges that some critics have tried to cast Caesar as the protagonist, but thatultimately Brutus is the driving force in the play and is therefore the tragic hero. Brutus attempts to put therepublic over his personal relationship with Caesar and kills him. Brutus makes the political mistakes thatbring down the republic that his ancestors created. He acts on his passions, does not gather enough evidence

to make reasonable decisions and is manipulated by Cassius and the other conspirators.[18]

Traditional readings of the play may maintain that Cassius and the other conspirators are motivated largelyby envy and ambition, whereas Brutus is motivated by the demands of honour and patriotism. But one of thecentral strengths of the play is that it resists categorising its characters as either simple 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 emphasize. The charactersrotate around each other like the plates of a Calder mobile. Touch one and it affects the positionof all the others. Raise one, another sinks. But they keep coming back into a precarious

balance.[20]


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Wills' contemporary interpretation leans more toward recognition of the conscious, sub-conscious nature ofhuman actions and interactions. And in this the role of Cassius becomes paramount.

The conspirators know Caesar. He has defeated opponents on the battlefield and conquered for Rome, halfthe known world. He has vanquished his political, governmental, military and bureaucratic, opponents inItaly and Rome. He has beaten them in fair and unfair fights; he has outmaneuvered them into hopelessness;he has cajoled them to declaim their positions and accept his mastery; he has appeased them, allied withthem, and then absorbed them, leaving only Caesar standing alone, in the place an opponent was.

The “republican” faction in the Roman Senate knows that Caesar is “still on the march”, and this time hisopponent is them, the Senate, as an institution. They know that “their” Senate, as an institution has, inopposition to Caesar, only two choices; surrender or oblivion. They should disappear like the fog or mistvanishes in plain sight with the rising of the sun.

The conspirators in general; and, Brutus in particular, each have, like a Wills’ Calder analogy, anunacknowledged, yet very, real binding relationship to one another. It is their both singular and collectivegrowing hostility and fear of Caesar the political and personal man. Their fears are both self-sustaining, andmutually reinforcing, one upon the other.

Cassius like a modern psychoanalyst perceives in Brutus, his sub-conscious, inchoate fear, hostility, evenloathing, of a man (Caesar) that he outwardly claims he both loves and admires. It is Cassius who perceivesthis colorless, odorless, “something in the air”; which, if he can tap into its organizing and animating powerin and over Brutus, will motivate Brutus to enlist, to organize, to persuade, and to sustain to completion, theact of conspiracy and brutal murder; as an action of loyal, loving, patriotism. It is Shakespeare at his mostdramatically sophisticated, psychological best.

Cassius does not lead himself, Brutus, or the rest of the conspiracy, as lambs to the slaughter. He knowswhat he is doing; and, unlike Iago in Othello, he does not occasionally turn to the audience and literally tellus what is going to happen as a result of his subtle psychological manipulation of people and/or events. Butif the dialog is followed closely, Casssius’ recognition of what he has to do, and how he has to coordinatethe interaction of pieces of his “Calder” mobiles, is perfectly clear.

But in the final analysis these men are drawn together not by external forces they do not perceive orunderstand, but by their motivations of greed, ambition, fear, loathing, mistrust; and, the realities of their alltoo human ignorance, misjudgment, bad judgment, bad luck, and their refusal to “see” the truth of theindividual and collective motivations that underlay their actions. As usual that human failing always leadsordinary men, real (as opposed to fictional ideal) men into the tragedy that is their lives.

The play was likely one of Shakespeare's first to be performed at the Globe Theatre.[21] Thomas Platter theYounger, a Swiss traveller, saw a tragedy about Julius Caesar at a Bankside theatre on 21 September 1599and this was most likely Shakespeare's play, as there is no obvious alternative candidate. (While the story ofJulius Caesar was dramatised repeatedly in the Elizabethan/Jacobean period, none of the other plays known

are as good a match with Platter's description as Shakespeare's play.)[22]

After the theatres re-opened at the start of the Restoration era, the play was revived by Thomas Killigrew'sKing's Company in 1672. Charles Hart initially played Brutus, as did Thomas Betterton in later productions.Julius Caesar was one of the very few Shakespearean plays that was not adapted during the Restoration

period or the eighteenth century.[23]


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John Wilkes Booth (left), Edwin

Booth and Junius Brutus Booth,

Jr. in Shakespeare’s Julius Caesar

in 1864.

1864: Junius, Jr., Edwin and John Wilkes Booth (later the assassinof U.S. president Abraham Lincoln) made their only appearanceonstage together in a benefit performance of Julius Caesar on 25November 1864, at the Winter Garden Theatre in New York City.Junius, Jr. played Cassius, Edwin played Brutus and John Wilkesplayed Mark Antony. This landmark production raised funds toerect a statue of Shakespeare in Central Park, which remains tothis day.May, 1916: A one-night performance in the natural bowl ofBeachwood Canyon, Hollywood drew an audience of 40,000 andstarred Tyrone Power, Sr. and Douglas Fairbanks, Sr. The studentbodies of Hollywood and Fairfax High Schools played opposingarmies, and the elaborate battle scenes were performed on a hugestage as well as the surrounding hillsides. The playcommemorated the tercentenary of Shakespeare's death. Aphotograph of the elaborate stage and viewing stands can be seenon the Library of Congress website.1926: Another elaborate performance of the play was staged as abenefit for the Actors' Fund of America at the Hollywood Bowl.Caesar arrived for the Lupercal in a chariot drawn by four whitehorses. The stage was the size of a city block and dominated by a central tower eighty feet in height.The event was mainly aimed at creating work for unemployed actors. Three hundred gladiatorsappeared in an arena scene not featured in Shakespeare's play; a similar number of girls danced asCaesar's captives; a total of three thousand soldiers took part in the battle sequences.1937: Orson Welles' famous production at the Mercury Theatre drew fervoured comment as thedirector dressed his protagonists in uniforms reminiscent of those common at the time in Fascist Italyand Nazi Germany, as well as drawing a specific analogy between Caesar and Benito Mussolini.Opinions vary on the artistic value of the resulting production: some see Welles's mercilesslypared-down script (the running time was around 100 minutes without an interval, several characterswere eliminated, dialogue was moved around and borrowed from other plays, and the final two actswere reduced to a single scene) as a radical and innovative way of cutting away peripheral elements ofShakespeare's tale; others thought Welles's version was a mangled and lobotomised version of

Shakespeare's tragedy which lacked the psychological depth of the original.[citation needed] Most agreed

that the production owed more to Welles than it did to Shakespeare.[citation needed] However, Time

Magazine gave the production a rave review,[24] and Welles's innovations have been echoed in manysubsequent modern productions, which have seen parallels between Caesar's fall and the downfalls ofvarious governments in the twentieth century. The production was most noted for its portrayal of the

slaughter of Cinna (Norman Lloyd).[citation needed] It is the longest-running Broadway production ofthis play at 157 performances. Welles's Julius Caesar opened at the Comedy Theater in the fall of1937, and then was transferred to the National Theater on West 41st Street, later renamed theNederlander Theater. This famous production also toured the country in 1938.1950: John Gielgud played Cassius at the Shakespeare Memorial Theatre under the direction ofMichael Langham and Anthony Quayle. The production was considered one of the highlights of aremarkable Stratford season, and led to Gielgud (who had done little film work to that time) playingCassius in Joseph L. Mankiewicz's 1953 film version.1977: John Gielgud made his final appearance in a Shakespearean role on stage as Julius Caesar inJohn Schlesinger's production at the Royal National Theatre. The cast also included Ian Charleson asOctavius.1994: Arvind Gaur directed this play in India with Jaimini Kumar as Brutus and Deepak Ochani asCaesar (24 shows); later on he revived it with Manu Rishi as Caesar and Vishnu Prasad as Brutus for


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1963 production of Julius Caesar at

The Doon School, India.

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 HabitatCentre, New Delhi.2005: Denzel Washington played Brutus in the first Broadway production of the play in over fiftyyears. The production received universally terrible reviews, but was a sell-out because of

Washington's popularity at the box office.[25]

2012: Dawson College put on a version of Julius Caesar in which Caesar was played by a woman, aswell as Cassius. This highlighted the love between Cassius and Brutus. The play also had a moderntwist, as over the course of the play the characters become more modern in costume and attitude.2012: the Royal Shakespeare Company staged an all-black production.2012: an all-female production was staged at the Donmar Warehouse, directed by Phyllida Lloyd.

Screen performances

See also Shakespeare on screen (Julius Caesar)

Julius Caesar (1950), starring Charlton Heston as Antony and Harold Tasker as Caesar.Julius Caesar (1953), starring James Mason as Brutus, Marlon Brando as Antony and Louis Calhernas Caesar.Julius Caesar (1970), starring Jason Robards Jr. as Brutus, Charlton Heston as Antony and JohnGielgud as Caesar.

The Canadian comedy duo Wayne and Shuster parodied JuliusCaesar in their 1958 sketch Rinse the Blood off My Toga. FlaviusMaximus, Private Roman Eye, is hired by Brutus to investigate thedeath of Caesar. The police procedural combines Shakespeare,Dragnet, and vaudeville jokes and was first broadcast on The Ed

Sullivan Show.[26]

The 1960 film An Honourable Murder is a modern reworking of theplay.

In 1973 the BBC made a television play Heil Caesar, written byJohn Griffith Bowen. This was an adaptation of the play put into amodern setting in an unnamed country, with references to recentevents in a few countries. It was intended as an introduction to Shakespeare's play for schoolchildren, but it

proved good enough to be shown on adult television, and a stage version was later produced.[27][28]

In 1984 the Riverside Shakespeare Company of New York City produced a modern dress Julius Caesar setin contemporary Washington, called simply CAESAR!, starring Harold Scott as Brutus, Herman Petras asCaesar, Marya Lowry as Portia, Robert Walsh as Antony, and Michael Cook as Cassius, directed by W.

Stuart McDowell at The Shakespeare Center.[29]

In 2006, Chris Taylor from the Australian comedy team The Chaser wrote a comedy musical called DeadCaesar which was shown at the Sydney Theatre Company in Sydney.

The line "The Evil That Men Do", from the speech made by Mark Antony following Caesar's death ("Theevil that men do lives after them; The good is oft interred with their bones.") has had many references inmedia, including the titles of ...


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An Iron Maiden songA politically oriented film directed by J. Lee Thompson in 1984A Buffy the Vampire Slayer novel.

The 2009 movie Me and Orson Welles, based on a book of the same name by Robert Kaplow, is a fictionalstory centred around Orson Welles' famous 1937 production of Julius Caesar at the Mercury Theatre.British actor Christian McKay is cast as Welles, and costars with Zac Efron and Claire Danes.

The 2012 Italian drama film Caesar Must Die (Italian: Cesare deve morire), directed by Paolo and VittorioTaviani, 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's last 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 Irespect not!"

The play's line "the fault dear Brutus lies not in our stars but in ourselves" gave its name to the J.M. Barrieplay Dear Brutus. The line also gave its name to a John Green novel named The Fault in Our Stars. Thesame line was quoted in Edward R. Murrow's epilogue of his famous 1954 See It Now documentarybroadcast concerning Senator Joseph R. McCarthy.

Assassinations in fictionComet CaesarMark Antony's Funeral SpeechThe dogs of war (phrase)

Footnotes

^ Shakespeare, William; Arthur Humphreys(Editor) (1999). Julius Caesar(http://books.google.com/books?id=Soh9UVaIqRMC&pg=PA1#v=onepage&q=&f=false) . OxfordUniversity Press. p. 1. ISBN 0-19-283606-4.http://books.google.com/books?id=Soh9UVaIqRMC&pg=PA1#v=onepage&q=&f=false.

1.

^ Named in Parallel Lives and quoted in Spevack,Marvin (2004). Julius Caesar. New CambridgeShakespeare (2 ed.). Cambridge, England:Cambridge University Press. p. 74.ISBN 978-0-521-53513-7.

2.

^ Julius Caesar, Act 1, Scene 2, Line 18(http://shakespeare-navigators.com/JC_Navigator/JC_1_2.html#17)

3.

^ Julius Caesar, Act 3, Scene 1, Line 77(http://shakespeare-navigators.com/JC_Navigator/JC_3_1.html#speech36)

4.

^ Julius Caesar, Act 3, Scene 2, Line 73.(http://www.shakespeare-navigators.com/JC_Navigator/JC_3_2.html#speech30)

5.

^ Julius Caesar, Act 4, Scene 3, Lines 19–21.(http://shakespeare-navigators.com/JC_Navigator/JC_4_3.html#speech8)

6.

^ Julius Caesar, Act 4, Scene 3, Line 283.(http://shakespeare-navigators.com/JC_Navigator/JC_4_3.html#282b)

7.

^ Julius Caesar, Act 5, Scene 5, Line 68.(http://shakespeare-navigators.com/JC_Navigator/JC_5_5.html#speech36)

8.

^ Wells and Dobson (2001, 229).9.^ Spevack (1988, 6), Dorsch (1955, vii–viii), Boyce(2000, 328), Wells, Dobson (2001, 229)

10.

^ Wells and Dobson, ibid.11.^ Pages from Plutarch, Shakespeare's Source forJulius Caesar (http://www.shakespeare-navigators.com/plutarch_caesar/index.html)

12.

^ Plutarch, Caesar 66.9(http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Plutarch/Lives/Caesar*.html#66.9)

13.

^ Suetonius, Julius 82.2(http://penelope.uchicago.edu/Thayer/L/Roman/Texts/Suetonius/12Caesars/Julius*.html#82.2)

14.

^ Wyke, Maria (2006). Julius Caesar in western15.


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culture. Oxford, England: Blackwell. p. 5.ISBN 978-1-4051-2599-4.^ Reynolds 329–33316.^ Taylor 301–30817.^ Houppert 3–918.^ Wills, Garry (2011), Rome and Rhetoric:Shakespeare's Julius Caesar; New Haven andLondon: Yale University Press, p. 118.

19.

^ Wills, Op. cit., pg 117.20.^ Evans, G. Blakemore (1974). The RiversideShakespeare. Houghton Mifflin Co. p. 1100.

21.

^ Richard Edes's Latin play Caesar Interfectus(1582?) would not qualify. The Admiral's Men hadan anonymous Caesar and Pompey in theirrepertory in 1594–5, and another play, Caesar'sFall, or the Two Shapes, written by ThomasDekker, Michael Drayton, Thomas Middleton,Anthony Munday, and John Webster, in 1601-2, toolate for Platter's reference. Neither play hassurvived. The anonymous Caesar's Revenge datesto 1606, while George Chapman's Caesar andPompey dates from ca. 1613. E. K. Chambers,Elizabethan Stage, Vol. 2, p. 179; Vol. 3, pp. 259,309; Vol. 4, p. 4.

22.

^ Halliday, p. 261.23.^ "Theatre: New Plays in Manhattan: Nov. 22,1937" (http://www.time.com/time/magazine/article/0,9171,758411,00.html) . TIME. 22 November1937. http://www.time.com/time/magazine/article/0,9171,758411,00.html. Retrieved 13 March 2010.

24.

^ "A Big-Name Brutus in a Caldron of Chaosa"(http://theater.nytimes.com/2005/04/04/theater/reviews/04caes.html?scp=1&sq=A%20Big-

25.

Name%20Brutus%20in%20a%20Caldron%20of%20Chaos&st=cse) . The New York Times. 4 April2005. http://theater.nytimes.com/2005/04/04/theater/reviews/04caes.html?scp=1&sq=A%20Big-Name%20Brutus%20in%20a%20Caldron%20of%20Chaos&st=cse. Retrieved 7 November 2010.^ "Rinse the Blood Off My Toga"(http://www.canadianshakespeares.ca/multimedia/video/rinse_the_blood.cfm) . CanadianAdaptations of Shakespeare Project at theUniversity of Guelph.http://www.canadianshakespeares.ca/multimedia/video/rinse_the_blood.cfm. Retrieved 13 March2010.

26.

^ "Julius Caesar On Screen"(http://www.screenonline.org.uk/tv/id/566329/index.html) . BFI Screenonline – The DefinitiveGuide to Britain's Film and TV History.http://www.screenonline.org.uk/tv/id/566329/index.html. Retrieved 13 March 2010.

27.

^ "Heil Caesar!" (http://www.imdb.com/title/tt0284178/) . The Internet Movie Database.http://www.imdb.com/title/tt0284178/. Retrieved 13March 2010.

28.

^ Herbert Mitgang of The New York Times, 14March 1984, wrote: "The famous Mercury Theaterproduction of Julius Caesar in modern dress stagedby Orson Welles in 1937 was designed to makeaudiences think of Mussolini's Blackshirts – and itdid. The Riverside Shakespeare Company's livelyproduction makes you think of timeless ambitionand antilibertarians anywhere."

29.

Secondary sources

Boyce, Charles. 1990. Encyclopaedia of Shakespeare, New York, Roundtable Press.Chambers, Edmund Kerchever. 1923. The Elizabethan Stage. 4 volumes, Oxford: Oxford UniversityPress. ISBN 0-19-811511-3.Halliday, F. E. 1964. A Shakespeare Companion 1564–1964. Shakespeare Library ser. Baltimore,Penguin, 1969. ISBN 0-14-053011-8.Houppert, Joseph W. “Fatal Logic in ‘Julius Caesar’ ”. South Atlantic Bulletin. Vol. 39, No.4. Nov.1974. 3–9.Kahn, Coppelia. "Passions of some difference": Friendship and Emulation in Julius Caesear. JuliusCaesar: New Critical Essays. Horst Zander, ed. New York: Routledge, 2005. 271–283.Parker, Barbara L. "The Whore of Babylon and Shakespeares's Julius Caesar." Studies in EnglishLiterature (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 OxfordUniversity Press


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Text of Julius Caesar (http://internetshakespeare.uvic.ca/Library/plays/JC.html) , fully edited by JohnCox, as well as original-spelling text, facsimiles of the 1623 Folio text, and other resources, at theInternet Shakespeare Editions (http://internetshakespeare.uvic.ca/)Julius Caesar Navigator (http://shakespeare-navigators.com/JC_Navigator/) Includes Shakespeare'stext with notes, line numbers, and a search function.No Fear Shakespeare (http://nfs.sparknotes.com/juliuscaesar/) Includes the play line by line withinterpretation.All Julius Caesar (http://www.alljuliuscaesar.bravehost.com/) Provides a summary of the play,background on Shakespeare and Julius Caesar, including historical background on Julius Caesar, and acharacter analysis of Caesar.Julius Caesar (http://www.shakespeare-literature.com/Julius_Caesar/index.html) – searchable, indexede-textJulius Caesar (http://www.gutenberg.org/etext/2263) – from Project GutenbergJulius Caesar (http://tech.mit.edu/Shakespeare/julius_caesar/) – by The TechJulius Caesar (http://www.maximumedge.com/shakespeare/juliuscaesar.htm) – Searchable and scene-indexed version.Julius Caesar in modern English (http://www.nosweatshakespeare.com/ebooks/modern-julius-caesar.htm)Lesson plans for Julius Caesar (http://www.webenglishteacher.com/juliuscaesar.html) at Web EnglishTeacherQuicksilver Radio Theater adaptation of "Julius Caesar", which may be heard online(http://www.prx.org/pieces/23945/) , at PRX.org (Public Radio Exchange).Julius Caesar (http://www.shmoop.com/julius-caesar/) study guide, themes, quotes, analysis,multimedia, & teaching guide

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