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The Tragedy of Julius Caesar (First Folio title: The Tragedie of Ivlivs Cæsar), often shortened to Julius Caesar, is a history play and tragedy by William Shakespeare first performed in 1599. In the play, Brutus joins a conspiracy led by Cassius to assassinate Julius Caesar , to prevent him from becoming a tyrant.
"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. Occurring in Act III, scene II, it ...
Shakespeare's Politics is a 1964 book by Allan Bloom and Harry V. Jaffa, in which the authors provide an analysis of four Shakespeare plays guided ... Julius Caesar ...
in the First Folio from 1623 This 1888 painting by William Holmes Sullivan is named Et tu Brute and is located in the Royal Shakespeare Theatre. Photograph of the Mercury Theatre production of Caesar, the scene in which Julius Caesar (Joseph Holland, center) addresses the conspirators including Brutus (Orson Welles, left). Et tu, Brute?
Bloom provides an analysis of each of Shakespeare's 38 plays, 24 of which he believes "really are of the highest quality". [1] Written as a companion to the general reader and theater-goer, Bloom declares that bardolatry "ought to be even more a secular religion than it already is". [2]
For Shakespeare's Antony and Cleopatra, the exclusivity and superiority supplied by pleasure created the disconnect between the ruler and the subjects. Critics suggest that Shakespeare did similar work with these sources in Othello, Julius Caesar, and Coriolanus.
Once Shakespeare mastered traditional blank verse, he began to interrupt and vary its flow. This technique releases the new power and flexibility of the poetry in plays such as Julius Caesar and Hamlet. Shakespeare uses it, for example, to convey the turmoil in Hamlet's mind: [211]
Commenting on the scene in Julius Caesar where Caesar confides to Marc Antony his apprehensions about Cassius, Hazlitt writes: "We know hardly any passage more expressive of the genius of Shakespeare than this. It is as if he had been actually present, had known the different characters and what they thought of one another, and had taken down ...