STUDY GUIDE
Words, words, words...
Polonius questions Hamlet, “What do you read, my lord?” Hamlet quickly replies: “Words, words,
words” (2.2.192).
Welcome to the indelible language of William Shakespeare. Shakespeare’s language is a vital source of our
ultimate pleasure in his plays. Shakespeare is one of the greatest wordsmiths. He crafted thousands of
words and is credited with a much bulkier vocabulary than today’s English speakers. Although it might
be difficult to overcome the different sounds of Shakespearean conversation, it is be worth noting that
Shakespeare’s language is closer to our modern English than it is to the works of Chaucer’s, just two
centuries before Shakespeare. “The history and development of
MIDDLE ENGLISH:
the English language unfolds as follows: Old English, 449–
Whan that Aprill, with his shoures soote
1100; Middle English 1100–1500; and Modern English 1500The droghte of March hath perced to the roote
present. Shakespeare was firmly in the Modern English
period.”
And bathed every veyne in swich licour,
The words in the plays of Shakespeare are of utmost
importance. To Shakespeare’s Elizabethan audience, the actor
(the storyteller) was the most important part of the play: not
the set, nor the costumes. It was the actor that the audience
came to hear unveil the tragedy, comedy, or history.
“Learning to listen like Elizabethans is a matter of practice.“
We invite you to come listen to the tragedy of the life of Julius
Caesar and his conspirators; his wife and the wife of his
conspirator-friend; and the Plebians, the commonfolk of
Rome.
Of which vertu engendred is the flour;
MODERN ENGLISH:
When in April the sweet showers fall
And pierce the drought of March to the root, and all
The veins are bathed in liquor of such power
As brings about the engendering of the flower,
(text from Geoffrey Chaucer’s The Canterbury Tales)
Shakespeare’s England
It is believed that The Tragedy of Julius Caesar was the first of
Shakespeare’s plays to have been performed on the stage of the Globe
Theatre, which opened in 1599.
Julius Caesar is often considered a history play, and it was most likely
written to address the concerns of the political tensions of the day. In
1599, when the play was written, Queen Elizabeth I was 66 years old.
She had not produced an heir to the throne, so the public was getting
nervous about the quality or capability of the person chosen to take
the queen’s place. Shakespeare wrote Julius Caesar, as art imitating
life, to get an audience to think about the parallels between ancient
Roman history and their contemporary politics.
Queen Elizabeth I
(circa 1575)
Although hardly any of Shakespeare’s plays were written with
Elizabethan England as the time and setting, he wrote his plays during
the height of Elizabeth’s reign, so he was certainly influenced by the
events of the day in his writings.
Who am I?
If you have a better understanding of the characters before you arrive at the theater, you will be better
able to enjoy and to understand more of the plot, the characters’ objectives, and the deeper themes of the
play. It is also helpful to know what social status or wealth the characters have (nobility, servant) and
what political power (civil or religious) they enjoy.
Cowards die many times before their deaths;
The valiant never taste of death but once…
Caesar tells Calpurnia that he is not afraid of death.
Julius Caesar (Eric Snyder) – A Roman aristocrat, general, and politician, Julius
Caesar gained almost unlimited power from military victories. He had been made
dictator before the play started, but he wanted to be made king so he could
designate his heir. He is assassinated midway through the play, but his ghost
appears later to Brutus.
Marcus Brutus (Stefan Lingenfelter) – A powerful orator and a well-known and
powerful senator, Marcus Brutus is a close friend of Julius Caesar. He is convinced
by the other conspirators to join their plot because they believe the future of Rome
is at stake. After the assassination, he becomes one of the military leaders opposing
the triumvirate, but, when he believes defeat is certain, he kills himself.
Cassius (Phillip Ball) - Conspirator against Caesar, and instigator of the conspiracy
against Caesar. Cassius had served beside Caesar in many wars, and even once saved
his life. Unlike Brutus, who loves Caesar but is opposed to the idea of a monarchy,
Cassius seems more motivated by jealousy, even hatred, of Caesar than by any
political ideology, as he first professes. Indeed, Cassius begins to exhibit many of
the bad qualities for which he initially argued Caesar must die, like ambition,
dishonesty, and greed.
How many ages hence
Shall this our lofty scene be acted o’er
In states unborn, and accents yet unknown.
Cassius reflects on this first assassination, being repeated throughout the ages.
Who Am I (continued)
Mark Antony (Jeffrey Carey) – A young kinsman of Caesar, Mark Antony is
fiercely loyal to him. A skilled orator who excites the mob at Caesar’s funeral, he is
one of the triumvirs who rule after Caesar’s death.
Portia (Katy Wayne) – Brutus’s wife, Portia is loyal to her husband, but she
commits suicide by “swallowing fire” when she realizes that her husband’s fortunes
are doomed.
Calpurnia (Alison Carey) – Supporter of Caesar. Julius Caesar’s wife, Calpurnia
unsuccessfully urges her husband to stay at home on the day of the assassination
because of the many nightmares and bad omens she has experienced during the
previous night.
In Shakespeare’s day, the roles of females were always played by men. The
law did not permit women to appear on stage. Today, it is not uncommon to
see women playing the part of a man.
Octavius Caesar (Lorraine Martin) – One of the triumvirs who rule following the
death of Julius Caesar, Octavius, with Antony, leads the army that defeats Cassius
and Brutus at Philippi.
Artimidorous – (A Roman writer and philosopher)- He presents Caesar with a letter
warning him about the assassination. Caesar does not heed this warning.
Who Am I (continued)
Casca (Casey Bowser) – Conspirator against Caesar. He seems to want to kill Caesar
not out of jealousy like Cassius, or out of concern for Rome like Brutus, but because
he thinks Caesar is a phony. Casca is the first one to stab Caesar.
Tintinius - One of Cassius's officers
Cicero (Ronald Murphy) - A Roman senator and well known orator
Flavius - (A commoner of Rome)- He is skeptical of Caesar's power
A Soothsayer - (A soothsayer is someone who foretells events or predicts the future)
- He warns Caesar to "beware the Ides of March."
Beware the Ides of March
The Soothsayer delivers this famous line to warn Caesar.
Decius Brutus (Rik Medic) - (A Roman senator)- He is sent to convince Caesar to
come to the Senate on the day of his assassination
Messala – One of Brutus's officers
Metellus Cimber (Aaron Zimmerman)- (A Roman Senator)- He distracts Caesar so
the others can attack him.
Volumnius – One of Brutus's officers.
Who Am I (continued)
Cinna (Greg Crawford) - (A Roman senator)- He assists Cassius' manipulation of
Brutus by planting anonymous letters around Brutus’ house.
Servant to Antony (Kevin Lukacs)
Clitus - One of Brutus's officers.
Pindarus - Cassius's indentured servant, who assists his suicide.
Popilius Lena - A Senator sympathetic to the conspirators.
Lucius (Mark McConnell Jr.) - Servant to Brutus.
Strato - An officer of Brutus, who assists his suicide.
Servant to Caesar
[Not Pictured] Servant to Antony (Jeff Arnold)
Clitus—A servant of Brutus
Plot Synopsis
ACT I
SCENE I. Rome. A street. The Roman populace has
turned out to celebrate the triumphant return of
Julius Caesar, but two of the tribunes, Flavius and
Marullus, attempt to disperse the multitude
because they fear that Caesar’s popularity may
lead to the destruction of democracy in Rome.
SCENE II. A public place. Caesar attends the race
traditionally run on the Feast of Lupercal. A
soothsayer warns him to beware of the ides of
March. Cassius, a close friend of Brutus, sounds
him out on the subject of Caesar’s growing power and Casa describes to them how Mark Antony three times
offered Caesar a crown, which he refused, although with greater reluctance each time. Brutus and Cassius
agree to meet the next day and the latter is encouraged to think that Brutus may be stirred to action hostile
to Caesar.
SCENE III. The same. A street. Cassius speaks his mind to Casca and finds him disposed to join in a
conspiracy to curb Caesar. They meet Cinna, whom they send to “plant” a message designed to stir up
Brutus. The conspirators are all to meet that night; Cassius and Casca also plan to call upon Brutus to seek his
support.
ACT II
SCENE I. Rome. BRUTUS's orchard. Brutus,
debating with himself the threat that Caesar
poses to the liberty of Rome, receives an
anonymous letter from Cassius. Soon after,
Cassius brings the conspirators to call upon him
and they make a compact to assassinate Caesar
that very day.
SCENE II. CAESAR's house. Caesar’s wife,
Calpurnia, tries to prevent his going to the
Capitol because of the many ill omens
witnessed in Rome and finally persuades him to stay at home. But Decius Brutus, one of the conspirators,
calls to escort Caesar to the Capitol, convinces him that the omens are auspicious, and points out that he will
appear ridiculous if he stays at home because of his wife’s superstitions. The rest of the conspirators,
headed by Brutus, enter to accompany Caesar to the Capitol. As they are going, Mark Antony joins Caesar’s
train.
SCENE III. A street near the Capitol. Artimidorous, having learned of the conspiracy, writes a letter of
warning to Caesar and plans to hand it to him in the street before he reaches the Capitol.
SCENE IV. Another part of the same street, before the house of BRUTUS. Portia, Brutus’ wife, who knows
of the plot, nervously awaits word of its success. In the street she meets the soothsayer, who intends to
warn Caesar a second time, though he gives no indication of knowing the actual danger.
ACT III
SCENE I. Rome. Before the Capitol. Near the Capitol, Artimidorous, attempts to urge his letter upon
Caesar, who refuses to give attention to it before other business and enters the Capitol. The conspirators
crowd around Caesar on a pretext and stab him to death. Brutus persuades them to leave Antony unharmed
and proposes to explain their deed to the public and then to allow Antony to speak at Caesar’s funeral.
Antony pretends friendly sympathy but
privately resolves to avenge Caesar’s death
with the help of Octavius
Caesar, whose presence in the vicinity is
announced by a servant.
SCENE II. The Forum. Brutus tersely recites
the reasons why Caesar was a danger to the
public good and the populace hail him as a
hero. When Antony’s turn comes, he cleverly
works on the emotions of the mob; he
reminds them of Caesar’s past benefactions,
tells them that Caesar has left all his wealth to
the public, and stirs them to seek out and kill
Caesar’s assassins. A servant informs Antony
that Octavius has arrived in Rome and that Brutus and Cassius have ridden from the city.
ACT IV
SCENE I. A house in Rome. Antony, Octavius, and Lepidus plan the death of those who may be hostile to
their cause. Lepidus goes to get Caesar’s will, and Octavius and Antony agree that they must speedily gather
a military force to combat Brutus and Cassius.
SCENE II. Camp near Sardis. Before BRUTUS's tent. Brutus has become displeased with Cassius. Cassius
comes to Brutus’ tent to discuss their differences. Brutus rebukes Cassius for condoning an officer who took
bribes and condemns Cassius’ own acquisitive tendencies. The two exchange bitter words. After Cassius
softens and they make peace, Brutus tells Cassius that Portia is dead. Titinius and Messala enter to confer on
military strategy. Brutus, overruling Cassius’ objections, decides that their forces should set off for Philippi to
meet Antony and Octavius. Later, reading in his tent, Brutus receives a visit from the Ghost of Caesar, who
departs with the warning that Brutus will see him again at Philippi.
ACT V
SCENE I. The plains of Philippi. The forces of Antony and Brutus meet, and Brutus, Cassius, Antony, and
Octavius exchange taunts before engaging.
SCENE II. Another part of the field. Cassius, mistakenly thinking that Tintinius has been captured, forces
his slave Pindarus to kill him with the very sword with which he killed Caesar. When Titinius finds Cassius, he
places a wreath of victory on his brow and kills himself.
SCENE III. Another part of the field. Facing defeat, Brutus kills himself. The victorious Antony and Octavius
promise all honorable rites of burial for their noble adversary.
Study Questions
1/ How do Flavius and Murellus respond when they meet commoners who are celebrating Caesar’s
triumph? What elicits this response?
2/ What is Cassius’s impression of Caesar in Scene 2? To what extent does Brutus agree with him?
3/ What happens when Antony offers Caesar a crown? How does the crowd respond to Caesar’s
actions?
4/ Did Caesar really not want to be crowned king, or was his refusal a ploy to win the public’s
allegiance? Why or why not?
5/ How does Brutus justify the plot against Caesar? What does this justification suggest about Brutus’s
values?
6/ How does Portia convince Brutus to disclose his secret to her? What is your impression of their
relationship?
7/ Why is Calpurnia afraid to let Caesar go to the Senate House? Does Caesar seem to share her fear?
8/ What surprises Caesar most when he is attacked? Why was it so surprising to him?
9/ How does Antony behave toward the conspirators immediately after Caesar’s murder? What
motivates his behavior?
10/ Why does Brutus allow Antony to speak at Caesar’s funeral? What assumption does he make about
Antony?
11/ How does the crowd react to Brutus’s and Antony’s funeral speeches? What do these reactions
suggest about the people in the crowd?
12/ Why do Brutus and Cassius quarrel in Act 4? In your opinion, who is more at fault?
13/ How do Antony and Octavius respond to Brutus’s death at the end of the play? Why might they
have responded that way?
14/ In what way does the entire play reflect the political climate of the day? Can it reflect any other
political time and place?
Sources Used for this Study Guide
Wright, Louis B. and Virgina A. LaMar. Julius Caesar. New York: Washington Square Press, 1974. Print.
“Julius Caesar Study Guide.” www.playinthewoods.com. American Players Theater. Web. 2006.
“Julius Caesar Study Guide. “ www.bard.org. Utah Shakespearean Festival. Web. 2008.