...Julius Caesar: Brutus and Mark Antony Comparison In William Shakespeare’s play, Julius Caesar, there is a major difference between two of the characters, Brutus and Mark Antony. Brutus was very honorable and Antony was very persuasive. When Brutus spoke at Caesar’s funeral, he appealed to the people’s logic and Antony spoke to the emotions of the people. Antony is very smart and uses his brain frequently during the play and Brutus is very naive about many of things. Brutus was very honorable and Antony was very persuasive. Brutus was very honorable in the way that he always told people the truth. Antony was persuasive in the way that he used people to get whatever he wanted. For example, Antony used Lepidus to seek revenge on all of the conspirators to take the blame for their deaths. In the speech at Caesar’s funeral Brutus spoke to the people’s logical mind and Antony spoke to the emotions of the people. Brutus’ speech was very short and to the point and spoke to the logic of the people in the crowd. For example, Brutus spoke in a detached way about Caesar’s death while Antony spoke to the emotions of the crowd by crying and talking about all the good things that Caesar did for Rome. Antony’s intelligence was very apparent throughout the play and Brutus appeared to be naive about many things. Antony is smart in the way that he manipulates people to his own advantage. For example, Antony was manipulative in his emotional approach to persuade people to become outraged...
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...preventing a becoming dictator - ruling over Rome. At the Caesar’s funeral, the two opposing orators, Brutus as a conspirator and Antony as a Caesar’s loyal, present different emotional and ethical appealing argument to convince and persuade the plebeians, Roman Citizens, of the logic behind Caesar’s assassination. From this scene, the audience observe the power of words, presented by Brutus and Antony, on the Roman Public - and the effects of powerful, superior and highly persuasive rhetoric in: stirring emotion by providing tragic event, shaping opinion through logical evidence, and demanding action based on ethics. This essay will demonstrate the effects of power of language, the central theme of Act III, Scene ii. Throughout this essay I will be comparing Brutus and Antony’s use of emotional, logical, and ethical appeals. For different motives, the assassination of Julius Caesar is acted in collaboration of conspirators. The leader of the conspirators is Cassius, a senator, whose rivalry toward Caesar is based on jealousy. Cassius believes that: “Caesar is so weak to be king and he is merely a man”. He insists that Caesar popularity making him so powerful and if he becomes the king, he would forever overturn the republic in Rome. Based on this logic, Caesar convinces Brutus, senator and close and dear friend of Caesar, to participate in killing Caesar. Brutus, in...
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... author · William Shakespeare type of work · Play genre · Tragic drama, historical drama language · English time and place written · 1599, in London date of first publication · Published in the First Folio of 1623, probably from the theater company’s official promptbook rather than from Shakespeare’s manuscript publisher · Edward Blount and William Jaggard headed the group of five men who undertook the publication of Shakespeare’s First Folio narrator · None climax · Cassius’s death (V.iii), upon ordering his servant, Pindarus, to stab him, marks the point at which it becomes clear that the murdered Caesar has been avenged, and that Cassius, Brutus, and the other conspirators have lost in their attempt to keep Rome a republic rather than an empire. Ironically, the conspirators’ defeat is not yet as certain as Cassius believes, but his death helps bring about defeat for his side. protagonists · Brutus and Cassius antagonists · Antony and Octavius setting (time) · 44 b.c. setting (place) · Ancient Rome, toward the end of the Roman republic point of view · The play sustains no single point of view; however, the audience acquires the most insight into Brutus’s mind over the course of the action falling action · Titinius’ realization that Cassius has died wrongly assuming defeat; Titinius’ suicide; Brutus’s discovery of the two corpses; the final struggle between Brutus’s men and the troops of Antony and Octavius; Brutus’s self-impalement on his sword...
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...A STUDY OF FULVIA by Allison Jean Weir A thesis submitted to the Department of Classics In conformity with the requirements for The degree of Master of Arts Queen’s University Kingston, Ontario, Canada December 2007 copyright © Allison Jean Weir 2007 Abstract Who was Fulvia? Was she the politically aggressive and dominating wife of Mark Antony as Cicero and Plutarch describe her? Or was she a loyal mother and wife, as Asconius and Appian suggest? These contrasting accounts in the ancient sources warrant further investigation. This thesis seeks to explore the nature of Fulvia’s role in history to the extent that the evidence permits. Fulvia is most famous for her activities during Antony’s consulship (44 BC) and his brother Lucius Antonius’ struggle against C. Octavian in the Perusine War (41-40 BC). But there is a discrepancy among the authors as to what extent she was actually involved. Cicero, Octavian and Antony, who were all key players in events, provide their own particular versions of what occurred. Later authors, such as Appian and Dio, may have been influenced by these earlier, hostile accounts of Fulvia. This is the first study in English to make use of all the available evidence, both literary and material, pertaining to Fulvia. Modern scholarship has a tendency to concentrate almost exclusively on events towards the end of Fulvia’s life, in particular the Perusine War, about which the evidence is much more abundant in later sources such as Appian and...
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...1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI Chapter XVIII CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI The Art of Public Speaking BY 2 The Art of Public Speaking BY J. BERG ESENWEIN AUTHOR OF "HOW TO ATTRACT AND HOLD AN AUDIENCE," "WRITING THE SHORT-STORY," "WRITING THE PHOTOPLAY," ETC., ETC., AND DALE CARNAGEY PROFESSOR OF PUBLIC SPEAKING, BALTIMORE SCHOOL OF COMMERCE AND FINANCE; INSTRUCTOR IN PUBLIC SPEAKING, Y.M.C.A. SCHOOLS, NEW YORK, BROOKLYN, BALTIMORE, AND PHILADELPHIA, AND THE NEW YORK CITY CHAPTER, AMERICAN INSTITUTE OF BANKING THE WRITER'S LIBRARY EDITED BY J. BERG ESENWEIN THE HOME CORRESPONDENCE SCHOOL SPRINGFIELD, MASS. PUBLISHERS Copyright 1915 THE HOME CORRESPONDENCE SCHOOL ALL RIGHTS RESERVED TO F. ARTHUR METCALF FELLOW-WORKER AND FRIEND Table of Contents THINGS TO THINK OF FIRST--A FOREWORD * CHAPTER I--ACQUIRING CONFIDENCE BEFORE AN AUDIENCE * CHAPTER II--THE SIN OF MONOTONY DALE CARNAGEY * CHAPTER III--EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION * CHAPTER IV--EFFICIENCY THROUGH CHANGE OF PITCH * CHAPTER V--EFFICIENCY THROUGH CHANGE OF PACE * CHAPTER VI--PAUSE AND POWER * CHAPTER VII--EFFICIENCY THROUGH INFLECTION * CHAPTER VIII--CONCENTRATION IN DELIVERY...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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