While Brutus loves Caesar as a friend, he opposes the ascension of any single man to the position of dictator, and he fears that Caesar aspires to such power. Unlike Caesar, Brutus is able to separate completely his public life from his private life; by giving priority to matters of state, he epitomizes Roman virtue. Torn between his loyalty to Caesar and his allegiance to the state, Brutus becomes the tragic hero of the play. Read an in-depth analysis of Brutus.
Adjectives to Describe the Characters in Julius Caesar In spite of Shakespeare's close adherence to Plutarch for his material, his genius is seen in the character portrayal.
Human nature was paramount with Shakespeare, and the facts of history have been subordinated in his plays wherever they interfered with his conception of character.
Julius Caesar This tendency to place character conception before historic truth is best illustrated in Julius Caesar by the portrayal of Caesar himself. Shakespeare insists, despite history, that he is a tyrant, weak in body and mind, easily flattered, vain, superstitious.
Subject to epileptic fits. Influenced by Calpurnia's dream and augurers' warnings. Yet, although Caesar's weakness is thus emphasized, he rules throughout the play, especially after his death.
The chief conspirators must at length fall before Caesar's spirit. Cassius's last words are "Caesar, thou art revenged," and Brutus ends his life with. He is the idealist, the dreamer, so universally respected that the conspirators seek him to give prestige to their cause.
Love of country, of liberty, of honor, are his guiding principles. Patriotic and liberty loving. Not that I love Caesar less but that I loved Rome more. The name of honor more than I fear death.
Romans need no other bond than their pledged word. Self controlled and stoical. We must die, Messala As the play progresses, we retain all our respect for Brutus's high moral character and disinterestedness, but cannot fail to see that, though forced to act, he is not qualified for action.
His public life is only a series of mistakes. Refuses to have Antony killed. Gives Antony permission to speak at Caesar's funeral.
Insists on marching to Philippi.
Himself the soul of honor, scorning to do anything unworthy of a Roman, acting only for his country's welfare, he is incapable of imputing less honorable motives to those with whom he is associated. Mark Antony, his political enemy, fitly pronounces him "the noblest Roman of them all.
As he, actuated by the principles of honor and love of country, forces himself to perform deeds against his nature, so Portia, exercising the self-restraint and noble dignity suited to a woman "so fathered and so husbanded," holds rigidly in check all the deep feeling, tenderness, and anxiety that are aroused in her by her husband's and her country's plight.
When finally her suppressed grief and suspense can no longer be endured, her mind gives way and in a fit of madness she takes her own life. Cassius Cassius is the foil to Brutus. He has all the practical gifts, the insight into character, the tact in dealing with men which Brutus lacks, but he has not Brutus's disinterested love of country and high ideals.
Casca drawn into the conspiracy. Throws letters into Brutus's window. But Brutus's moral power is so great that it overpowers Cassius's practical judgment, to the failure of their cause. At the outset, Shakespeare accents Cassius's unlovely traits, his ambition opposing itself to Caesar's, his unscrupulous methods of drawing Brutus into the conspiracy.
As the action progresses, however, we gain insight into Cassius's nobler side: Antony Antony, like Cassius, is a foil to Brutus.
Like Cassius, he is an astute, practical man of the world, but unlike Cassius, he is fond of pleasure and adventure. Like Cassius again, he is bound by ties of affection and admiration to a finer nature. His love for Caesar is sincere, but he is shrewd and selfish enough to use it for his own ends.
Joined to a masker and a reveller!
Speech of conciliation to Brutus. Gains permission to speak at funeral. Plays on mob's curiosity and greed in his speech. Presented first merely as the gaiety-loving adventurer, Antony reveals after Caesar's death an extraordinary insight into character, from Brutus' noble, unsuspicious nature to the easily-swayed emotions of the mob.
In the opening scene of Act IV, more than nineteen months after Caesar's assassination, we see Antony in session with the other two triumvirs, and there is shown still another phase of his character: Lepidus, the third triumvir, is "a slight, unmeritable man, meet to be sent on errands," but having done his part in easing Antony "of divers slanderous loads," he is to be sent off "like to the empty ass, to shake his ears.
But however practical and unscrupulous his own nature, he was able to recognize and admire nobility of character in another, as is shown in his frank appreciation of Brutus:Truly, the powerful character of Marc Antony does turn the tide of events because of his strong traits: Duplicity Marc Antony effectively convinces Brutus that he has so loved Caesar that he merely wishes to give a funeral oration, promising that he will not speak against the conspirators.
Perceptions of the meaning of his actions will differ, but the end result is the same: Antony and Cleopatra is a powerful play because it has powerful characters who catch the imagination and never release it.
They are lovers who are more mature than Romeo and Juliet and, for that reason, they are not easily forgotten. In William Shakespeare’s Julius Caesar, Mark Antony is a confident and loyal friend of Caesar’s, who upon Caesar’s death forms an alliance with Octavius and Lepidus against Cassius and Brutus.
Antony is extremely obedient to Caesar and his closest companion. Mark Antony Character Timeline in Julius Caesar The timeline below shows where the character Mark Antony appears in Julius Caesar.
The colored dots and icons indicate which themes are . Antony is a good friend of Julius Caesar who launches himself into a major position of power over the course of the play. And, yes, this is the same Mark Antony who has a torrid love affair with Cleopatra and goes down in another Shakespeare play, Antony and Cleopatra.
Presented first merely as the gaiety-loving adventurer, Antony reveals after Caesar's death an extraordinary insight into character, from Brutus' noble, unsuspicious nature to the easily-swayed emotions of the mob.