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De Analogia denotes the adherence to grammatical rules while not changing one's diction with current demotic usage. After the composition of his Commentarii de bello Gallico Caesar felt obligated to devise certain grammatical principles in reference to his commentaries, writing that "the choice of words is the fountain-head of eloquence."
Fictional depictions of Julius Caesar in literature (1 C, 16 P) Pages in category "Depictions of Julius Caesar in literature" The following 20 pages are in this category, out of 20 total.
Title of Translation Translator(s) Place of Publication Date of Publication ISBN WorldCat OCLC Notes Anthony and Cleopatra: Estonian Antonius ja Kleopatra: Georg Meri: Tallinn: 1946 With: Julius Caesar; Coriolanus As You Like It: Welsh Bid Wrth Eich Bodd: J. T. Jones: Caernarfon (2007 reprint) 1983 (published) 12520327 NLW: Coriolanus: Estonian ...
Pages in category "Fictional depictions of Julius Caesar in literature" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes .
Julius Caesar is seen as the main example of Caesarism, a form of political rule led by a charismatic strongman whose rule is based upon a cult of personality, whose rationale is the need to rule by force, establishing a violent social order, and being a regime involving prominence of the military in the government. [292]
The ancient Roman busts of Julius Caesar and Cleopatra in the Altes Museum, Berlin. Caesar is referred to in some of the poems of Catullus (ca. 84 – 54 BC); The Commentarii de Bello Gallico (ca. 58 – 49 BC) and the Commentarii de Bello Civili (ca. 40 BC) are two autobiographical works Caesar used to justify his actions and cement popular support
"Friends, Romans": Orson Welles' Broadway production of Caesar (1937), a modern-dress production that evoked comparison to contemporary Fascist Italy and Nazi Germany "Friends, Romans, countrymen, lend me your ears" is the first line of a speech by Mark Antony in the play Julius Caesar, by William Shakespeare.
The aria has been cited as an example of a "simile aria", because the words and the music both reflect, in metaphor, the situation of the character.[19] [20] Caesar, at Tolomeo's palace in Alexandria, compares himself to a stealthy hunter carefully tracking his prey; the prey in this case is Tolomeo, king of Egypt, who has just given Caesar a cool reception and whom Caesar views with suspicion.