4/11/2020 Julius Caesar (play) - Wikipedia

Julius Caesar (play)

The Tragedy of Julius Caesar (First Folio title: The Tragedie of Ivlivs Cæsar) is a history play
and tragedy by William Shakespeare first performed in 1599. It is one of several plays written by
Shakespeare based on true events from Roman history, such as Coriolanus and Antony and Cleopatra.

Set in Rome in 44 BC, the play depicts the moral dilemma of Brutus as he joins a conspiracy led by
Cassius to murder Julius Caesar to prevent him from becoming dictator of Rome. Following Caesar's
death, Rome is thrust into a period of civil war, and the republic the conspirators sought to preserve is
lost forever.

Although the play is named Julius Caesar, Brutus speaks more than four times as many lines as the
title character; and the central psychological drama of the play focuses on Brutus' struggle between the
conflicting demands of honour, patriotism, and friendship.

Contents
Characters
The ghost of Caesar taunts Brutus
Synopsis about his imminent defeat.
Sources (Copperplate engraving by Edward
Scriven from a painting by Richard
Deviations from Plutarch
Westall: London, 1802.)
Date and text
Analysis and criticism
Historical background
Protagonist debate
Performance history
Notable performances
Adaptations and cultural references
Film and television adaptations
Contemporary political references

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See also
References
Citations
Secondary sources
External links

Characters
Julius Caesar Publius
Popilius Lena
Triumvirs after Caesar's death
Citizens
Octavius Caesar
Mark Antony Calpurnia – Caesar's wife
Lepidus Portia – Brutus' wife
Soothsayer – a person supposed to be able to foresee the
Conspirators against Caesar future
Artemidorus – sophist from Knidos
Marcus Brutus (Brutus)
Cinna – poet
Cassius
Cobbler
Casca
Carpenter
Decimus Brutus
Poet (believed to be based on Marcus Favonios)[1]
Cinna
Lucius – Brutus' attendant
Metellus Cimber
Trebonius Loyal to Brutus and Cassius
Caius Ligarius
Volumnius
Tribunes Titinius
Young Cato – Portia's brother
Flavius
Messala – messenger
Marullus
Varrus
Roman Senate Senators Clitus
Claudius
Cicero Dardanius

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Strato Caesar's servant

Lucilius Antony's servant
Flavius (non-speaking role) Octavius' servant
Labeo (non-speaking role) Messenger
Pindarus – Cassius' bondman Other soldiers, senators, plebeians, and attendants

Other

Synopsis
The play opens with two tribunes discovering the commoners of Rome celebrating Julius Caesar's triumphant return from defeating the
sons of his military rival, Pompey. The tribunes, insulting the crowd for their change in loyalty from Pompey to Caesar, attempt to end 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 kill him, he agrees that Caesar may be abusing his power.
They then hear from Casca that Mark Antony has offered Caesar the crown of Rome three times and that each time Caesar refused it with
increasing reluctance, in hopes that the crowd watching the exchange would beg him to accept the crown, yet the crowd applauded Caesar
for denying the crown, upsetting Caesar, due to his wanting to accept the crown. On the eve of the ides of March, the conspirators meet and
reveal that they have forged letters of support from the Roman people to tempt Brutus into joining. Brutus reads the letters and, after
much moral debate, decides to join the conspiracy, thinking that Caesar should be killed to prevent him from doing anything against the
people of Rome if he were ever to be crowned.

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

The conspirators make clear that they committed this murder for the good of Rome, not for their own purposes, and do not attempt to flee
the scene. Brutus delivers an oration defending his own actions, and for the moment, the crowd is on his side. However, Mark Antony
makes a subtle and eloquent speech over Caesar's corpse, beginning with the much-quoted "Friends, Romans, countrymen, lend me your
ears!"[3] In this way, he deftly turns public opinion against the assassins by manipulating the emotions of the common people, in contrast
to the rational tone of Brutus's speech, yet there 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's claim of Caesar's
ambition; he shows Caesar's bloody, lifeless body to the crowd to have them shed tears and gain sympathy for their fallen hero; and he
reads Caesar's 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.

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Brutus next attacks Cassius for supposedly soiling the noble act of regicide by having accepted
Julius Caesar
bribes. ("Did not great Julius bleed for justice' sake? / What villain touch'd his body, that did stab,
/ And not for justice?"[4]) The two are reconciled, especially after Brutus reveals that his beloved
wife committed suicide under the stress of his absence from Rome; they prepare for a civil war
against Mark Antony and Caesar's adopted son, Octavius, who have formed a triumvirate in Rome
with Lepidus. That night, Caesar's ghost appears to Brutus with a warning of defeat. (He informs
Brutus, "Thou shalt see me at Philippi."[5])

At the battle, 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 after hearing of
the capture of his best friend, Titinius. After Titinius, who was not really captured, sees Cassius's
corpse, he commits suicide. However, Brutus wins that stage of the battle, but his victory is not
conclusive. With a heavy heart, Brutus battles again the next day. He loses and commits suicide by
running on his own sword, held for him by a loyal soldier.

The play ends with a tribute to Brutus by Antony, who proclaims that Brutus has remained "the
noblest Roman of them all"[6] because he was the only conspirator who acted, in his mind, for the
good of Rome. There is then a small hint at the friction between Mark Antony and Octavius which
characterises another of Shakespeare's Roman plays, Antony and Cleopatra.

Sources
The main source of the play is Thomas North's translation of Plutarch's Lives.[7][8]

Deviations from Plutarch

Shakespeare makes Caesar's triumph take place on the day of Lupercalia (15 February)
instead of six months earlier. Shakespeare in Styria 2014, directed by
For dramatic effect, he makes the Capitol the venue of Caesar's death rather than the Curia Nicholas Allen and Roberta Brown
Pompeia (Curia of Pompey).
Caesar's murder, the funeral, Antony's oration, the reading of the will and the arrival of
Octavius all take place on the same day in the play. However, historically, the assassination took place on 15 March (The Ides of
March), the will was published on 18 March, the funeral was on 20 March, and Octavius arrived only in May.
Shakespeare makes the Triumvirs meet in Rome instead of near Bononia to avoid an additional locale.
He combines the two Battles of Philippi although there was a 20-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
nothing, with Plutarch adding that he pulled his toga over his head when he saw Brutus among the conspirators,[9] though Suetonius
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does record other reports that Caesar said in Greek "καὶ σὺ, τέκνον;" (Kai su, teknon?, "And
you, child?")[10][11] The Latin words Et tu, Brute?, however, 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 Antony (George Coulouris) kneels over

the body of Brutus (Orson Welles) at the
Julius Caesar was originally published in the First Folio of 1623, but a performance was conclusion of the Mercury Theatre
mentioned by Thomas Platter the Younger in his diary in September 1599. The play is not production of Caesar (1937–38)
mentioned in the list of Shakespeare's plays published by Francis Meres in 1598. Based on these
two points, as well as a number 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,[12] scholars have suggested 1599 as
a probable date.[13]

The text of Julius Caesar in the First Folio is the only authoritative text for the play. The Folio text is
notable for its quality and consistency; scholars judge it to have been set into type from a theatrical
prompt-book.[14]

The play contains many anachronistic elements from the Elizabethan era. The characters mention
objects such as doublets (large, 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 it with "Count the clock".

Analysis and criticism

Historical background

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 performance, Queen Elizabeth, a strong The first page of Julius Caesar,
ruler, was elderly and had refused to name a successor, leading to worries that a civil war similar to printed in the Second Folio of 1632
that of Rome might break out after her death.[15]

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Protagonist debate

Critics of Shakespeare's play Julius Caesar differ greatly on their views of Caesar and Brutus. Many
have debated whether Caesar or Brutus is the protagonist of the play, because of the title character's
death in Act Three, Scene One. But Caesar compares himself to the Northern Star, and perhaps it
would be foolish not to consider him as the axial character of the play, around whom the entire story
turns. Intertwined in this debate is a smattering of philosophical 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 "Ironic Epithet in Julius Caesar". This author
points out that Casca praises Brutus at face 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 us/ His countenance, like richest alchemy,/ Will change to virtue
and to worthiness" (I.iii.158–160). 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]

Myron Taylor, in his essay "Shakespeare's Julius Caesar and the Irony of History", compares the logic
A late 19th-century painting of Act and philosophies of Caesar and Brutus. Caesar is deemed an intuitive philosopher who is always right
IV, Scene iii: Brutus sees Caesar's when he goes with his instinct, for instance when he says he fears Cassius as a threat to him before he
ghost. is killed, his intuition is correct. Brutus is portrayed as 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, now
be still:/ I kill'd not thee with half so good a will".[17]

Joseph W. Houppert acknowledges that some critics have tried to cast Caesar as the protagonist, but that ultimately Brutus is the driving
force in the play and is therefore the tragic hero. Brutus attempts to put the republic over his personal relationship with Caesar and kills
him. Brutus makes the political mistakes that bring 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 largely by envy and ambition, whereas
Brutus is motivated by the demands of honour and patriotism. Certainly, this is the view that Antony expresses in the final scene. But one
of the central 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 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. 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 of human actions and
interactions. In this, the role of Cassius becomes paramount.

Performance history
The play was probably one of Shakespeare's 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's play, as 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 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's King'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]

Notable performances
1864: Junius Jr., Edwin and John Wilkes Booth (later the assassin of U.S. president Abraham
Lincoln) made the only appearance onstage together in a benefit performance of Julius Caesar on 25
November 1864, at the Winter 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-night performance in the natural bowl of Beachwood Canyon, Hollywood drew
an audience 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 as well as the surrounding hillsides. The play commemorated the
tercentenary of Shakespeare's death. A photograph of the elaborate stage 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 as a benefit for the Actors Fund of
America at the Hollywood Bowl. Caesar arrived for the Lupercal in a chariot drawn by four white
horses. 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 gladiators
John Wilkes Booth (left), Edwin
appeared in an arena scene not featured in Shakespeare's play; a similar number of girls danced as Booth and Junius Brutus Booth
Caesar's captives; a total of three thousand soldiers took part in the battle sequences. Jr. in Shakespeare's Julius
1937: Caesar, Orson Welles's famous Mercury Theatre production, drew fevered comment as the Caesar in 1864.
director dressed his protagonists in uniforms reminiscent of those common at the time in Fascist Italy
and Nazi Germany, drawing a specific analogy between 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 show
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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 five-month national tour with Caesar in 1938, again to critical acclaim.[30]:357
1950: John Gielgud played Cassius at the Shakespeare Memorial Theatre under the direction of
Michael Langham and Anthony Quayle. The production was considered one of the highlights of a
remarkable Stratford season and led to Gielgud (who had done little film work to that time) playing
Cassius in Joseph L. Mankiewicz's 1953 film version.
1977: Gielgud made his final appearance in a Shakespearean role on stage as Caesar in John
Schlesinger's production at the Royal National Theatre. The cast also included Ian Charleson as
Octavius.
1994: Arvind Gaur directed the play in India with Jaimini Kumar as Brutus and Deepak Ochani as
Caesar (24 shows); later on he revived it 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 Orson Welles as Brutus in the
Centre, New Delhi. Mercury Theatre's Caesar
(1937–38)
2005: Denzel Washington played Brutus in the first Broadway production of the play in over fifty
years. The production received universally negative reviews but was a sell-out because of
Washington's popularity at the box office.[31]
2012: The Royal Shakespeare Company staged an all-black production under the direction of Gregory Doran.
2012: An all-female production starring Harriet Walter as Brutus and Frances Barber as Caesar was staged at the Donmar Warehouse,
directed by Phyllida Lloyd. In October 2013, the production transferred to New York's St. Ann's Warehouse in Brooklyn.
2018: The Bridge Theatre stages Julius Caesar as one of its first productions, under the direction of Nicholas Hytner, with Ben
Whishaw, Michelle Fairley, and David Morrissey as leads. This mirrors the play's status as one of the first productions at the Globe
Theatre in 1599.

Adaptations and cultural references

One 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 likely meta-
reference, as Richard Burbage is generally accepted to have played leading men Brutus and Hamlet, and the older John Heminges to have
played Caesar and Polonius.

In 1851, the German composer Robert Schumann wrote a concert overture Julius Caesar, inspired by 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]

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

In 1984, the Riverside Shakespeare Company of New York City produced a modern dress Julius
Caesar set in contemporary Washington, called simply CAESAR!, starring Harold Scott as Brutus,
Herman Petras as Caesar, Marya Lowry as Portia, Robert Walsh as Antony, and Michael Cook as
Cassius, directed by W. Stuart McDowell at The Shakespeare Center.[34]
1963 production of Julius Caesar at
In 2006, Chris Taylor from the Australian comedy team The Chaser wrote a comedy musical called
The Doon School, India.
Dead Caesar 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
("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 Iron Maiden song

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

The 2008 movie Me and Orson Welles, based on a book of the same 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 cast 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'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 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 culture. The line gave its name to the J.M. Barrie play Dear Brutus, and also gave its name to the best selling young adult novel
The Fault in Our Stars by John Green and its film adaptation. The same line was quoted in Edward R. Murrow's epilogue of his famous
1954 See It Now documentary broadcast concerning Senator Joseph R. McCarthy. This speech and the line were recreated in the 2005 film
Good Night, and Good Luck. It was also quoted by George Clooney's character in the Coen brothers film Intolerable Cruelty.

The line "And therefore think him as a serpent's egg / Which hatch'd, would, as his kind grow mischievous; And kill him in the shell"
spoken by Brutus in Act II, Scene 1, is referenced in the Dead Kennedys song "California Über Alles".

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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 flood, leads on to fortune." (Act IV, Scene III).

Film and television adaptations

Julius Caesar has been adapted to a number of film productions, including:

Julius Caesar (Vitagraph Company 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 by Joseph L. Mankiewicz and produced by John Houseman; starring James Mason 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 series 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 three-part television play written by John Griffith Bowen that was "a modern-dress modern-dialogue rewrite
of the play, updated to an unnamed present-day regime that's about to switch from democracy to dictatorship unless Brutus and his
conspirators act to prevent it." 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.[39] The British Universities Film & Video Council database
states that the work "transforms the play into a modern political conspiracy thriller with modern dialogue and many strong allusions to
political events in the early 1970."[40]
Julius Caesar (BBC/Time-Life TV, 1978), a television adaptation in the BBC Television Shakespeare series, directed by Herbert Wise
and produced by Cedric Messina, starring Richard Pasco as Brutus, Keith Michell as Antony and Charles Gray as Caesar.[36]
Caesar Must Die (2012), is an Italian film about a group of prison inmates rehearsing the play. Ultimately, the prison life and the play
become 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 actual prison inmates
playing themselves. [41]
Zulfiqar (2016), a Bengali-language Indian film by Srijit Mukherji that is an adaption of both Julius Caesar and Antony and Cleopatra
and a tribute to the film The Godfather.[42]

Contemporary political references

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Modern adaptions of the play have often made contemporary political references,[43] with Caesar depicted as resembling a variety of
political leaders, including Huey Long, Margaret Thatcher, and Tony Blair.[44] Professor A. J. Hartley, the Robinson Chair of Shakespeare
Studies at the University of North Carolina at Charlotte, states that this is a fairly "common trope" of Julius Caesar performances:
"Throughout the 20th century and into the 21st, the rule has been to create a recognisable political world within the production. And often
people in the title role itself look like or feel like somebody either in recent or current politics."[44] 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."[43] This production was not particularly controversial.[43] 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 President Donald Trump and thereby
aroused ferocious controversy, drawing criticism by media outlets such as The Daily Caller and Breitbart and prompting corporate
sponsors Bank of America and Delta Airlines to pull their financial support.[43][45][46][47] 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 means pay a terrible
price and destroy the very thing they are fighting to save." Shakespeare scholars Stephen Greenblatt[48] and Peter Holland agreed with this
statement.[44] 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 stop him becoming a dictator. Result: 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."[44] The
play was interrupted several times by right-wing protesters, who accused the play of "violence against the right", and actors and members
of theatres with Shakespeare in the name have been harassed and received death threats, including the wife of the play's director Oskar
Eustis.[49][50][51][52] The protests were praised by American Family Association director Sandy Rios who compared the play with the
execution of Christians by damnatio ad bestias.[53]

See also
1599 in literature
Assassinations in fiction
Caesar's Comet
Mark Antony's Funeral Speech
"The dogs of war"

References

Citations
2. "Julius Caesar, Act 3, Scene 1, Line 77" (http://shakespeare-nav
1. Named in Parallel Lives and quoted in Spevack, Marvin (2004).
igators.com/JC_Navigator/JC_3_1.html#speech36).
Julius Caesar. New Cambridge Shakespeare (2 ed.).
Cambridge, England: Cambridge University Press. p. 74. 3. "Julius Caesar, Act 3, Scene 2, Line 73" (http://www.shakespear
ISBN 978-0-521-53513-7. e-navigators.com/JC_Navigator/JC_3_2.html#speech30).
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4. "Julius Caesar, Act 4, Scene 3, Lines 19–21" (http://shakespear 22. Richard Edes's Latin play Caesar Interfectus (1582?) would not
e-navigators.com/JC_Navigator/JC_4_3.html#speech8). qualify. The Admiral's Men had an anonymous Caesar and
5. "Julius Caesar, Act 4, Scene 3, Line 283" (http://shakespeare-na Pompey in their repertory in 1594–95, and another play,
vigators.com/JC_Navigator/JC_4_3.html#282b). Caesar's Fall, or the Two Shapes, written by Thomas Dekker,
Michael Drayton, Thomas Middleton, Anthony Munday, and
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Neither play has survived. The anonymous Caesar's Revenge
7. Shakespeare, William (1999). Arthur Humphreys (ed.). Julius dates to 1606, while George Chapman's Caesar and Pompey
Caesar (https://books.google.com/books?id=Soh9UVaIqRMC&p dates from ca. 1613. E. K. Chambers, Elizabethan Stage, Vol. 2,
g=PA1#v=onepage&q=&f=false). Oxford University Press. p. 8. p. 179; Vol. 3, pp. 259, 309; Vol. 4, p. 4.
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31. "A Big-Name Brutus in a Caldron of Chaosa" (http://theater.nyti 42. Anindita Acharya, My film Zulfiqar is a tribute to The Godfather,
mes.com/2005/04/04/theater/reviews/04caes.html?scp=1&sq= says Srijit Mukherji (http://www.hindustantimes.com/regional-mo
A%20Big-Name%20Brutus%20in%20a%20Caldron%20of%20C vies/my-film-zulfiqar-is-a-tribute-to-the-godfather-says-srijit-muk
haos&st=cse). The New York Times. 4 April 2005. Retrieved herji/story-qHyDQlVqcqePyOaPBrfHXK.html), Hindustan Times
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32. Grove's Dictionary of Music and Musicians, 5th edition, ed. Eric 43. Peter Marks, When 'Julius Caesar' was given a Trumpian
Blom, Vol. VII, p. 733 makeover, people lost it. But is it any good (https://www.washing
33. "Rinse the Blood Off My Toga" (http://www.canadianshakespear tonpost.com/news/arts-and-entertainment/wp/2017/06/16/calpur
es.ca/multimedia/video/rinse_the_blood.cfm). Canadian nia-as-melania-octavius-as-jared-the-public-theater-goes-full-tru
Adaptations of Shakespeare Project at the University of Guelph. mp-with-julius-caesar-in-central-park/), Washington Post (16
Retrieved 13 March 2010. June 2017).
34. Herbert Mitgang of The New York Times, 14 March 1984, wrote: 44. Frank Pallotta, Trump-like 'Julius Caesar' isn't the first time the
"The famous Mercury Theater production of Julius Caesar in play has killed a contemporary politician (http://money.cnn.com/
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make audiences think of Mussolini's Blackshirts – and it did. The x.html), CNN (12 June 2017).
Riverside Shakespeare Company's lively production makes you 45. "Delta and Bank of America boycott 'Julius Caesar' play starring
think of timeless ambition and antilibertarians anywhere." Trump-like character" (https://www.theguardian.com/us-news/20
35. Maria Wyke, Caesar in the USA (University of California Press, 17/jun/12/delta-pulls-sponsorship-julius-caesar-play-trump-killed
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Television (eds. Anthony Davies & Stanley Wells: Cambridge 46. Alexander, Harriet (12 June 2017). "Central Park play depicting
University Press, 1994), pp. 29–31. Julius Caesar as Donald Trump causes theatre sponsors to
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Period (Scarecrow Press, 2013), p. 228. -park-play-depicting-julius-caesar-donald-trump-causes/). The
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Universities Film & Video Council. re-play-julius-caesar-new-york). The Guardian. Retrieved
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49. Al-Sibai, Noor (17 June 2017). "Shakespearean actors across 52. Link, Taylor (22 June 2017). "Cops investigate death threats
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Caesar play" (https://www.rawstory.com/2017/06/shakespearea 17/06/22/shakespeare-in-the-park-julius-caesar-donald-trump-d
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2017. 53. Mantyla, Kyle (20 June 2017). "Sandy Rios Sees No Difference
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Boyce, Charles. 1990. Encyclopaedia of Shakespeare, New York, Roundtable Press.
Chambers, Edmund Kerchever. 1923. The Elizabethan Stage. 4 volumes, Oxford: Oxford University Press. 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 Caesar. Julius Caesar: 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 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
Complete Annotated Text on One Page (http://www.shakespearestudyguide.com/JuliusCaesarText.html)
Text of Julius Caesar (https://internetshakespeare.uvic.ca/Foyer/plays/JC.html), 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 (http://internetshakespeare.uvic.ca/)

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Julius Caesar Navigator (http://shakespeare-navigators.com/JC_Navigator/) Includes Shakespeare's text with notes, line numbers, and
a search function.
No Fear Shakespeare (http://nfs.sparknotes.com/juliuscaesar/) Includes the play line by line with interpretation.
Julius Caesar (http://www.bl.uk/works/julius-caesar) at the British Library

Julius Caesar at Project Gutenberg

Julius Caesar (https://archive.is/20121212071742/http://tech.mit.edu/Shakespeare/julius_caesar/) – by The Tech
Julius 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 English Teacher
Julius Caesar (https://librivox.org/search?title=Julius+Caesar&author=Shakespeare&reader=&keywords=&genre_id=0&status=all&p
roject_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced) public domain
audiobook at LibriVox
Quicksilver 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 (https://web.archive.org/web/20150402101642/http://read.libripass.com/william_shakespeare-julius_caesar.htm) Read
Online in Flash version.
Clear Shakespeare Julius Caesar (http://clearshakespeare.com/category/caesar/) – A word-by-word audio guide through the play.

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