...Anthony’s and Brutus’s speech Both are said with great reasons and appealed to ethos (ones emotions). However, the speeches change the ending of the play and give us a foreshadow of one ending with a victory in the other and The other ending in success. Brutus spoke about why he decided to kill Julius Caesar, which was one of his friend. The main reason he pointed out for killing him was that he thought Julius Caesar was ambitious. He didn’t tell us why or what exactly caused to think about how ambitious Caesar was. Mark Anthony said that Caesar was ambitious because he practiced “three presented him a crown, which he did thrise refuse”. Also, Brutus said that his killing Caesar was because he loved room. Not that he loved Cesar any less...
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...Rhetoric in Julius Caesar under the microscope What is Rhetoric? Rhetoric is the art of persuasion to form man's mind to the speaker’s point of view. Aristotle, a Greek Philosopher, born 384 BCE in the city Stagira, Chalcidice, Greece, defined the art of persuasion. Therefore, man has used Rhetoric for all of humanity's existence. Politicians have used Rhetoric to prove their party correct. The bible even has rhetoric in Jesus’s parables and when Moses freed Israelites from captivity. Rhetoric is everywhere you look. The ability to win over a crowd with only your words is a God given talent that many men do not have. Rhetoric is the most important part of of persuasion. Rhetoric can be divided into three different categories Logos, Pathos,...
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...Discuss the theme of power and justice in Julius Caesar What is power? It is the ability to direct or influence the behaviour of others or the course of events. Background * At first Caesar belonged to what is referred to as the First Triumvirate in alliance with another general, Pompey and Crassus, a wealthy patrician. * Caesar had forced his way to dictatorial power and destroyed the republic when Crassus died in battle and Pompey began to entertain ideas of ruling without Caesar, who by then had become dangerously popular. This resulted in a in a civil war in which Caesar defeated Pompey’s forces and entered Rome, triumphant and unchallenged. * Upon his return, Caesar made himself dictator and absolute ruler of Rome and its territories. * In 44 B.C.E. Julius Caesar ordered the senate to make him dictator for life. (Caesar’s actions threatened to end the Republic once and for all. * Fearing this change, a group of senators plotted and executed the murder of Caesar on the Ides of March. * Although the senators succeeded in ending Caesar’s life, they did not realise at that time that the Republic had died with him. Rome would now become an empire. Power Although the biggest argument in Julius Caesar is the change of power in the rulers of Rome, Shakespeare tries to show us many different kinds of power and the use of it. As we can see during the play, people with power use power just for their convenience. During the first part...
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...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...
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...weapons when manipulated by the right person in his play The Tragedy of Julius Caesar (JC) as Brutus persuades the citizens of Rome to understand the righteousness of his delusional actions in his eulogy at Caesar’s funeral. The way Brutus charismatically urges the approval of the Romans is similar to the way Hitler brainwashed the citizens in Germany to exile Jews with his hypnotic way with words. Brutus’s intelligence does not diminish in the slightest as his choice of words cause the citizens’ change of heart towards his sinful actions and intentions, proving the theme that words can be powerful weapons. Brutus is very convincing when he argues that he assassinated his friend for the good of Rome, simply because “[he loved] Rome more” (JC 3.2.20) than his best friend. Brutus participates in killing Caesar, and he stands before the citizens saying that his death is a good thing because Rome will stay a Republic and not go back to an empire. He explains that while he loves his friend, his heart was always set on what was best for Rome. Brutus cleverly questions the citizens with, “who here is so vile that will not love his country” (JC 3.2.28-9). Brutus tests the citizens’ integrity and how civilized they are with this rhetorical device. He questions whether or not they would put their country first because he wants the citizens to put themselves in his shoes, so to speak. Brutus thoughtfully structures his speech with conscious decisions on the diction he uses so that he can use...
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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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...The Interpretation of Dreams Sigmund Freud (1900) PREFACE TO THE THIRD EDITION Wheras there was a space of nine years between the first and second editions of this book, the need of a third edition was apparent when little more than a year had elapsed. I ought to be gratified by this change; but if I was unwilling previously to attribute the neglect of my work to its small value, I cannot take the interest which is now making its appearance as proof of its quality. The advance of scientific knowledge has not left The Interpretation of Dreams untouched. When I wrote this book in 1899 there was as yet no "sexual theory," and the analysis of the more complicated forms of the psychoneuroses was still in its infancy. The interpretation of dreams was intended as an expedient to facilitate the psychological analysis of the neuroses; but since then a profounder understanding of the neuroses has contributed towards the comprehension of the dream. The doctrine of dream-interpretation itself has evolved in a direction which was insufficiently emphasized in the first edition of this book. From my own experience, and the works of Stekel and other writers, [1] I have since learned to appreciate more accurately the significance of symbolism in dreams (or rather, in unconscious thought). In the course of years, a mass of data has accumulated which demands consideration. I have endeavored to deal with these innovations by interpolations in the text and footnotes. If these additions do...
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