...Julius Caesar by William Shakespeare William Shakespeare Renowned English poet, playwright and actor William Shakespeare’s birth date is not known; however, he is said to have been baptized on the 26th of April 1564. He died on the 26th of April 1616 but not before he had written about 38 plays, 154 sonnets and other literary pieces. Shakespeare’s plays have been translated into several languages over the years and have been produced in many forms throughout the ages. The Play Julius Caesar is a play about friendship, betrayal and power. The play is a historical tragedy as it presents the biography of one of the greatest man to have ever lived in Rome. Caesar was made Dictator and Consol after he chased Pompey and his forces out of Rome in an attempt to obtain ultimate power. Caesar’s ultimate goal was to become Rome’s first king and he remained focus on this goal until his death in 44BC. His death was as a result of fate and his refusal to acknowledge the many signs and omens that foreshadowed his fall. Brutus a very good friend of Caesar also took part in his assassination. Brutus feared that Caesar would become a tyrant and harm the people of Rome. In an attempt to ‘save’ the people Brutus helped Cassius to take Caesar’s life. After Caesar’s death he is avenged by his loyal servant Antony who skillfully manipulates his way into the band of conspirators. Later, after winning the love of the people Antony pursues and conquers Brutus’ and Cassius’ forces...
Words: 4055 - Pages: 17
...Marcus Brutus VS Mark Antony In William Shakespeare's brilliant play, Julius Caesar he discusses the tragic and brutal death of Julius Caesar. After this tragedy, Mark Antony and Marcus Brutus hold a ‘funeral’ for Caesar. Both Mark Antony and Marcus Brutus are close friends of Julius Caesar. But, Marcus Brutus turns on Caesar, Brutus and a group of conspirators stab Caesar multiple times, resulting in his death. Brutus overall is not loyal to Julius Caesar. During both Mark Antony and Marcus Brutus’ speeches during Act III, Scene ii of William Shakespeare's Julius Caesar, both conveyed a life changing point about Caesar's death, but, Mark Antony by far gave the better speech, through the use of pathos and rhetorical questions to show his honesty,...
Words: 629 - Pages: 3
...William Shakespeare’s The Tragedy of Julius Caesar, set in Rome in 44 B.C, focuses on the character of Julius Caesar and his gruesome assassination by the members of the Roman Senate. Mark Antony, Caesar’s best friend, plots his revenge and incites a riot, causing the exile of the conspirators and their impending defeat. The tragic hero with a tragic flaw can be found in the character of Julius Caesar, an example of this being Caesar’s prominence in society as well as his fatal flaw of hubris. Another example is Caesar’s recognition of his fatal flaw following his betrayal and downfall. A third example is Caesar’s redemption, when his death is fully grasped by Marcus Brutus, who was once Caesar’s friend but betrayed him. The tragic hero is Julius Caesar because of his fatal flaw of hubris, his recognition of his flaw in his...
Words: 1290 - Pages: 6
...The Tragedy of Julius Caesar is a story of the short rise and fall of a ruler and the conspiracy linked to it. Julius Caesar is soon to be crown king of Rome after defeating military commander, Pompey. One of the close allies of Julius, Cassius fears of Rome being under rule of a man that in truth doesn’t like and wants to take him down. Cassius gathers others close to Julius to create this plan to bring Caesar down. Cassius tries hard to recruit one man who he believes would be perfect for the conspiracy: Marcus Brutus, a man who is known for the noble deeds of him and his ancestors. After much of a inner and outer strangle for Brutus to consider this, he goes along with the plan and then seems to over take most of Cassius’s position. The conspirators take Caesar to the capitol, where he is to be murdered, and Caesar utters the infamous words: “Et tu, Brute?”. The conspirators rejoice in the deed and are then later met with Antony as they finally agree to trust him. Antony, Caesar’s right hand man, is broken by the sight of Caesar’s dead body. When the conspirators leave to capitol, Brutus and Antony start to give their speeches and expose Caesar’s body. Brutus’s speech defends the conspirators and the murder and for a moment, he has won over the people. But, Antony’s dramatic speech overwhelms the civilians and now has them against the conspirators and this starts the civil war. It is a war for the power and fait of Rome where it is Antony and Octavius’s (Caesar’s nephew and...
Words: 996 - Pages: 4
...characters as tragic heroes. In Shakespeare’s play, The Tragedy of Julius Caesar, the tragic hero is Brutus. Although the play is named after Caesar, Marcus Junius Brutus the Younger is the main character. The literary work focuses on the emotions, actions, and decisions made by Marcus Junius Brutus the Younger. Brutus is the best friend of Titular character, Julius Caesar. Gaius Julius Caesar is a member of the first Triumvirate of Rome, a form of government that is run by three people. Traditionally, a tragic hero is a character in a literary work who is usually of noble birth or who has notable ancestry. The character that is the tragic hero also has another distinguishing characteristic. The tragic hero has to have...
Words: 1473 - Pages: 6
...Julius Caesar full title · The Tragedy of Julius Caesar 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...
Words: 22331 - Pages: 90
...Chapter II: literature of the renaissance (End of the 15th - beginning of the 17th century) In the 15th - 16th centuries capitalist relation began to develop in Europe. The former townspeople became the bourgeoisie. The bourgeoisie fought against feudalism because it held back the development of capitalism. The decay of feudalism and the development of capitalist relation were followed by a great rise in the cultural life of Europe. There was an attempt at creating a new culture which would be free from the limitation of the feudal ideology of the Middle Ages. The epoch was characterized by a thirst for knowledge and discoveries, by a powerful development of individuality. It was then that great geographical discoveries of Columbus, Magellan and other travelers as well as astronomical discoveries of Copernicus, Bruno, Galilei were made. The invention of the printing press (Fyodorov in Russia, Guttenberg in Germany, Caxton in England) contributed to the development of culture in all European countries. Universities stopped being citadels of religious learning and turned into centers of humanist study. There was a revival of interest in the ancient culture of Greece and Rome ("Renaissance" is French for "rebirth"). The study of the works of ancient philosophers, writers, and artists helped the people to widen their outlook, to know the world and man's nature. On the basis of both the ancient culture and the most progressive elements of the culture of the...
Words: 8940 - Pages: 36
...Kristina Nemeth CLA311 Tacitus, Annals of Imperial Rome Notes Chapter 1 From Augustus to Tiberius “I shall write without indignation or partisanship: in my case the customary incentives to these are lacking.” No republican forces were left after Brutus and Cassius died. Sextus Pompeius in Sicily was defeated, Ledpidus dropped, Antony killed. Only Octavian was left. Seduced with many gifts but soon the legal system was incapacitated by violence, favoritism and bribery. Augustus chose Agrippa as son in law after nephew Marcellus dies. Agrippa has sons Gaius Caesar and Lucius Caesar and adopted Augustus adopted them. Both die premature deaths, Nero Drusus is already dead and Tiberius is the only surviving stepson. Livia had control over aged Augustus—he sent to exile his only surviving grandson, Agrippa Postumus. Son of Nero Drusus, Germanicus was adopted by Tiberius by word of Augustus. Supposed foul play on Livia’s side as she heard how affectionate Augustus was to Agrippa Postumus on a visit and so sent letter to Tiberius and next thing that happens is that Augustus is dead and Tiberius is in control. Tiberius’s first crime was the assassination of Agrippa Postumus. First Senate meeting under Tiberius dealt with Augustus’s funeral—Tiberius and Livia were his heirs, Livia adopted into Julian family with name Augusta. After funeral, Augustus was declared a god and decreed a temple but the major topic of every prayer was Tiberius. Then a document was...
Words: 7745 - Pages: 31
...FACULTY OF SCIENCE DEPARTMENT OF LIFE AND HEALTH SCIENCES NURSING PROGRAM COURSE TITLE COURSE CODE: Nursing Ethics/ NURS-121 INSTRUCTOR NAME: Ms. Savoula Ghobrial STUDENT NAME: Amal Alzubi Introduction 1. What is Suicide? ”Suicide” is difficult to define. This is because it is a value-laden term. Whenever we apply the label of “suicide” to an individual’s death, we typically presuppose a number of significant moral issues. To see the problem, let’s posit a definition: Suicide: Is the intentional and voluntary taking of one’s own life. At first glance, this is a simple and appealing definition. It seems to capture the core phenomenon of self-killing pretty succinctly. There are, however, all sorts of cases that would test the limits of this definition. Consider the “voluntariness” requirement. Many people may take their lives under conditions of coercion, duress or necessity. Does that mean they don’t commit suicide? Take the example of Hitler. He killed himself in order to avoid the humiliation of execution. Was his decision voluntary? What of the Japanese Samurai, who had a form of ritual self-killing (known asseppuka or hari-kari) that they used to “die with honor” rather than fall into the hands of their enemies? Or the soldier who throws himself on a grenade in order to save his comrades? I suspect we would say that each of these counts as an example of “suicide”, but depending on how we understand the voluntariness condition; they may not meet...
Words: 3071 - Pages: 13
...Home > Why Hamlet Delays His Revenge Why Hamlet Delays His Revenge (Excerpt from Quintessence of Dust: The Mystical Meaning of Hamlet) Kenneth Chan ... Hamlet is finally alone, and the stage is set for the soliloquy that gave rise to one of the most persistent mysteries in literature: Why does Hamlet delay his revenge? Hamlet Ay, so, God buy you. Now I am alone. Oh, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his whole conceit1 That from her working all his visage wanned, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting With forms to his conceit? And all for nothing! For Hecuba! What's Hecuba to him, or he to Hecuba, That he should weep for her? What would he do Had he the motive and the cue for passion That I have? He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty and appal the free,2 Confound the ignorant, and amaze indeed The very faculties of eyes and ears. Yet I, A dull and muddy-mettled3 rascal, peak Like John-a-dreams,4 unpregnant5 of my cause, And can say nothing--no, not for a king, Upon whose property and most dear life A damned defeat was made. Am I a coward? Who calls me a villain, breaks my pate across, Plucks off my beard and blows it in my face, Tweaks me by the nose, gives me the lie i'th'throat As deep as to the lungs? Who does me this? Ha, 'swounds, I should take...
Words: 7854 - Pages: 32
...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...
Words: 239932 - Pages: 960
...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
Words: 12257 - Pages: 50
...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...
Words: 162622 - Pages: 651
...Essays Essays Part II. 2, 2.] Part II. 2, 2.] Essays The Project Gutenberg EBook of Essays, by Ralph Waldo Emerson This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Essays Author: Ralph Waldo Emerson Editor: Edna H. L. Turpin Release Date: September 4, 2005 [EBook #16643] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK ESSAYS *** 1 Essays Produced by Curtis A. Weyant , Sankar Viswanathan and the Online Distributed Proofreading Team at http://www.pgdp.net ESSAYS BY RALPH WALDO EMERSON Merrill's English Texts SELECTED AND EDITED, WITH INTRODUCTION AND NOTES, BY EDNA H.L. TURPIN, AUTHOR OF "STORIES FROM AMERICAN HISTORY," "CLASSIC FABLES," "FAMOUS PAINTERS," ETC. NEW YORK CHARLES E. MERRILL CO. 1907 CONTENTS INTRODUCTION LIFE OF EMERSON CRITICAL OPINIONS CHRONOLOGICAL LIST OF PRINCIPAL WORKS THE AMERICAN SCHOLAR COMPENSATION SELF RELIANCE FRIENDSHIP HEROISM MANNERS GIFTS NATURE SHAKESPEARE; OR, THE POET PRUDENCE CIRCLES NOTES PUBLISHERS' NOTE Merrill's English Texts 2 Essays 3 This series of books will include in complete editions those masterpieces of English Literature that are best adapted for the use of schools and colleges. The editors of the several volumes will...
Words: 97797 - Pages: 392
...1575 ESSAYS by Michel de Montaigne translated by Charles Cotton I. OF CUSTOM, AND THAT WE SHOULD NOT EASILY CHANGE A LAW RECEIVED. HE seems to have had a right and true apprehension of the power of custom, who first invented the story of a countrywoman who, having accustomed herself to play with and carry, a young calf in her arms, and daily continuing to do so as it grew up, obtained this by custom, that, when grown to be a great ox, she was still able to bear it. For, in truth, custom is a violent and treacherous schoolmistress. She, by little and little, slily and unperceived, slips in the foot of her authority, but having by this gentle and humble beginning, with the benefit of time, fixed and established it, she then unmasks a furious and tyrannic countenance, against which we have no more the courage or the power so much as to lift up our eyes. We see her, at every turn, forcing and violating the rules of nature: "Usus efficacissimus rerum omnium magister." I refer to her Plato's cave in his Republic, and the physicians, who so often submit the reasons of their art to her authority; as the story of that king, who by custom brought his stomach to that pass, as to live by poison, and the maid that Albertus reports to have lived upon spiders. In that new world of the Indies, there...
Words: 179434 - Pages: 718
