unit 11

Literary Shakespearean Drama

Analysis In Elizabethan times, Shakespeare’s plays captivated diverse crowds of theatergoers,
Workshop ranging from wealthy nobility to common groundlings. But even Shakespeare may
have been surprised that his works have so resonated with contemporary audiences,
centuries after the plays were first performed. One reason Shakespeare has endured
may be that his characters—figures from history and his imagination—transcend
any particular time or place. Many of these characters are archetypes—familiar
character types that appear over and over again in literature. The scheming
characters and conspiracies at the heart of The Tragedy of Julius Caesar are as
relevant today as they were in Shakespeare’s time.

Part 1: Characteristics of Shakespearean Tragedy

Perhaps the most powerful of Shakespeare’s plays are his tragedies. A tragedy is
a drama in which a series of actions leads to the downfall of the main character,
Included in this workshop:
READING 4 Understand, make called the tragic hero. The plot builds to a catastrophe, or a disastrous final
inferences, and draw conclusions outcome, that usually involves the death of the hero and many others.
about the structure and
elements of drama and provide
evidence from text to support
To create suspense before this inevitable outcome and to help the audience
understanding. Analyze how understand the characters, Shakespeare used certain dramatic conventions—the
archetypes in drama affect the plot
of plays.
soliloquy, the aside, and dramatic irony—which are described in the chart.
5A Analyze isolated scenes and
their contribution to the success of main character dramatic conventions
the plot as a whole.
Tragic Hero Dramatic Irony
• is of high social rank—a king, a prince, • results when the audience knows more
or a general than one or more of the characters—for
• has a tragic flaw—an error in judgment example, Caesar does not know that
or a character defect—that ultimately people are plotting against him, but the
leads to his or her downfall audience does

• suffers complete ruin or death • helps build suspense

• faces his or her downfall with courage

and dignity Soliloquy
• is a speech given by a character alone
on stage, used to reveal his or her
private thoughts and feelings
• may help the audience understand a
character’s motivation

Aside
• is a character’s remark, either to the
audience or to another character, that no
one else on stage is supposed to hear
• lets the audience in on a character’s
thoughts or secrets

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 model 1: tragic hero
Many critics believe that the tragic hero in Julius Caesar is not Caesar
himself but Brutus, a respected Roman. As you read this excerpt, consider
what Brutus’ words reveal about his character.

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Lines 79–89
Scene 2
Brutus. What means this shouting? I do fear the people Close Read
80 Choose Caesar for their king. 1. Reread the boxed lines.
Cassius. Ay, do you fear it? What noble qualities
Then must I think you would not have it so. does Brutus display?
Cite specific details to
Brutus. I would not, Cassius, yet I love him well. support your answer.
But wherefore do you hold me here so long?
2. What possible flaw
What is it that you would impart to me?
might Brutus’ mindset
85 If it be aught toward the general good, 85–87 Brutus declares that
he would not care whether
suggest?
Set honor in one eye and death i’ the other,
he faced death if the matter
And I will look on both indifferently;
Cassius has in mind concerns
For let the gods so speed me as I love the public welfare (general
The name of honor more than I fear death. good).

model 2: soliloquy
Early in the play, Brutus must make a critical choice. Should he continue
to live under Caesar’s rule, or should he assassinate Caesar before the
dictator becomes too power-hungry? Notice what you learn about Brutus
from this soliloquy.

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ct wo Close Read
1. In the boxed text,
Lines 10–17 Brutus compares Caesar
Scene 1 to a poisonous snake
10 Brutus. It must be by his death; and for my part, 10–12 It must . . . general: (adder). Explain how
I know no personal cause to spurn at him, Caesar would need to be this analogy helps you
But for the general. He would be crowned. killed, and I have no personal understand Brutus’
reason to attack him, only concern about Caesar.
How that might change his nature, there’s the question. concern for the general
It is the bright day that brings forth the adder, welfare. 2. What is Brutus’ motive
15 And that craves wary walking. Crown him that, 15 craves: demands. for opposing Caesar?
And then I grant we put a sting in him Given what you’ve just
learned about Brutus,
That at his will he may do danger with.
does his motive surprise
you? Explain.

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Part 2: The Language of Shakespeare elizabethan words to know
Here are words that you will encounter
Shakespearean language is more grand, more rhythmic, and,
often while reading Julius Caesar:
admittedly, less comprehensible than everyday modern speech.
an: if
If you familiarize yourself with Shakespeare’s language, though,
aught: anything
you will find yourself getting caught up in the intriguing plot
beseech: beg
that drives Julius Caesar.
but: only
blank verse durst: dared
Shakespeare’s plays are verse dramas, in which most of the dialogue ere: before
is written in the metrical patterns of poetry. Shakespeare wrote hie: hurry
primarily in blank verse, or unrhymed lines of iambic pentameter.
hither: here
Iambic pentameter is a pattern of rhythm that has five unstressed
mark: notice
syllables ( ), each followed by a stressed syllable ( ). Read these lines
marry: a short form of “by the Virgin
aloud, noticing how the rhythm mimics that of everyday speech:
Mary” and so a mild exclamation
Such men as he be never at heart’s ease prithee: pray thee, or please

Whiles they behold a greater than themselves, save: except

soft: wait a minute
Most of Julius Caesar is written in blank verse. In some places,
thither: there
however, Shakespeare broke the pattern to vary the rhythm, create
wherefore: why
dramatic tension, or distinguish certain characters from others.
whither: when
withal: also
rhetorical devices
Julius Caesar is about power, ambition, and betrayal. The characters
are constantly trying to persuade themselves, each other, and the
audience of the rightness of their cause. As a result, the play is full
of speeches that make masterful use of rhetorical devices, such as
those shown in the chart.

rhetorical device example

repetition Therein, ye gods, you make the weak most strong;

the use of words and phrases more than once Therein, ye gods, you tyrants do defeat.
to emphasize ideas —Act One, Scene 3, Lines 91–92

parallelism Not that I loved Caesar less, but that I loved Rome more.
the repetition of grammatical structures to —Act Three, Scene 2, Line 20
express ideas that are related or of equal
importance

rhetorical questions Wherein hath Caesar thus deserved your loves?

the use of questions that require no Alas, you know not!
answer to make the speaker’s rightness —Act Three, Scene 2, Lines 232–233
seem self-evident

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 Literary Analysis Workshop

model 1: blank verse

In the following excerpt, Casca, one conspirator plotting against Caesar,
speaks excitedly to the senator Cicero about a violent thunderstorm that is
occurring. As you read, notice the rhythmic variation in the lines.

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Lines 3–13
Scene 3 Close Read
Casca. Are you not moved when all the sway of earth 3 sway of earth: the natural 1. Read the boxed lines
Shakes like a thing unfirm? O Cicero, order of things. aloud and scan the
5 I have seen tempests when the scolding winds 5 tempests: storms. stressed and unstressed
Have rived the knotty oaks, and I have seen 6 rived: torn. syllables. Where are the
The ambitious ocean swell and rage and foam breaks in the pattern?
To be exalted with the threat’ning clouds; 8 To be exalted with: to raise 2. Point out the key words
But never till tonight, never till now, themselves to the level of. that are emphasized by
10 Did I go through a tempest dropping fire. 11–13 Either . . . destruction: the rhythm in lines 3–7.
Either there is a civil war in Why might Shakespeare
Either there is a civil strife in heaven, heaven or the world has so
Or else the world, too saucy with the gods, have chosen to stress
insulted the gods that they
Incenses them to send destruction. them?
want to destroy us.

model 2: rhetorical devices

This speech is given by Marullus, a Roman official loyal to Caesar’s rival,
Pompey. As the play opens, Romans take to the streets to celebrate
Caesar’s victory over Pompey, an occasion that spurs the official’s anger.
What rhetorical devices does Marullus use in his address to the crowd?

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Lines 36–42 and 48–51
Scene 1
Marullus. . . . O you hard hearts, you cruel men of Rome! Close Read
Knew you not Pompey? Many a time and oft 1. Consider the use of
37 Pompey: a former Roman
Have you climbed up to walls and battlements, ruler defeated by Caesar in parallelism in the boxed
To tow’rs and windows, yea, to chimney tops, 48 b.c. Pompey was lines. What words or
40 Your infants in your arms, and there have sat murdered a year after his phrases are parallel?
The livelong day, with patient expectation, defeat. 2. Notice the rhetorical
To see great Pompey pass the streets of Rome. . . . questions that Marullus
And do you now put on your best attire? asks in line 37 and in
And do you now cull out a holiday? 49 cull out: select. lines 48–51. Through this
50 And do you now strew flowers in his way rhetorical device, what is
he trying to emphasize?
That comes in triumph over Pompey’s blood?

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Part 3: Reading Shakespearean Drama
Understanding Shakespearean drama can be challenging for modern readers.
Unusual vocabulary and grammatical structures can be difficult to decipher, and
certain dramatic conventions can be tricky to track. Use these strategies to help
you appreciate and analyze Julius Caesar.

reading tragedy
• Study the opening cast of characters, which in Julius Caesar will strategies in action
tell you who is conspiring against the title character and who is
supporting him.
ct ne
• Try to visualize the setting and the action by using information Scene 2 Lines 22–24
in the stage directions, the dialogue, and the synopsis at the Caesar. What say’st thou to me now?
beginning of each scene. Speak once again.
• Keep track of the characters, and think about what their speech Soothsayer. Beware the ides of March.
and actions reveal about their traits. Caesar, Cassius, Brutus, and Caesar. He is a dreamer; let us leave
Mark Antony are the ones to watch in Julius Caesar. At the end, him. Pass.
consider how closely each fits the model of a tragic hero.
• Note examples of foreshadowing, using a chart like the one Example of My Impressions
shown. Think about how each example can help you both predict Foreshadowing
events and better understand the characters’ personalities. Soothsayer (fortune- • shows that Caesar is
• As you read each scene, consider it both in isolation and in how it teller) gives Caesar not superstitious or
a mysterious warning easily rattled
contributes to the plot as a whole. about March 15 • suggests that something
• Keep in mind the historical background on page 1199 as you read (ides) terrible may happen to
the play. Julius Caesar is based on ancient Roman figures and Caesar on that day
events that Shakespeare views from an Elizabethan perspective.
Shakespeare knew his audience had divided opinions about
Caesar, and he exploits that tension throughout the play.

reading shakespeare’s language

• Use the side notes, context clues, and the word list on page 1192 Lines from Play Modern Rewording
to help you understand unfamiliar words and expressions.
“. . . you and I will yetBefore the end of the
• Be aware that the English spoken in Shakespeare’s time contains ere day day, you and I will see
grammatical forms and structures that are no longer used today. Brutus at his house.
See Brutus at his house.
We’ve already won
Using a chart like the one shown, jot down difficult lines and then Three parts of him
over three parts of
reword them to read like modern speech. Is ours already, and the him. The next time we
man entire see him, we’ll win him
• Remember that the end of a line does not necessarily mean the
Upon the next over entirely.
end of a thought. Look closely at each line’s punctuation, and try
encounter yields him
to figure out the meaning of the complete sentence or phrase. ours.”
• Paraphrase passages to help you understand characters’ public (Act One, Scene 3,
personas as well as their private schemes. When you paraphrase a Lines 153–156)
passage, you restate its key points in your own words.

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 Literary Analysis Workshop

model: reading shakespearean drama

This scene takes place on the streets as Caesar returns from a public
festival. Many characters are on stage at the same time, but Brutus and
Cassius speak privately in asides, as do Caesar and Antony. Use the stage
directions and sidenotes to help you understand the scene.

ct ne
from

Lines 178–201
Scene 2
[Voices and music are heard approaching.]
Brutus. The games are done, and Caesar is returning. Close Read
Cassius. As they pass by, pluck Casca by the sleeve, 1. Paraphrase what Cassius
180 And he will (after his sour fashion) tell you is saying to Brutus in
What hath proceeded worthy note today. 181 worthy note: worthy of lines 179–181.
notice.
[Reenter Caesar and his train of followers.]
Brutus. I will do so. But look you, Cassius! 2. Reread the boxed
The angry spot doth glow on Caesar’s brow, lines and visualize the
And all the rest look like a chidden train. 184 chidden train: a group action unfolding in your
185 Calpurnia’s cheek is pale, and Cicero of followers who have been mind. Cite details from
scolded. the stage directions
Looks with such ferret and such fiery eyes
As we have seen him in the Capitol, 185–188 Cicero was a highly and Brutus’ dialogue
Being crossed in conference by some senators. respected senator. Brutus that helped you form
says he has the angry look of a mental image of the
Cassius. Casca will tell us what the matter is. a ferret (a fierce little animal), characters’ movements.
[Caesar looks at Cassius and turns to Antony.] the look he gets when other
senators disagree with him.
190 Caesar. Antonius.
Antony. Caesar? 190–214 Brutus and Cassius
take Casca aside. The
Caesar. Let me have men about me that are fat, conversation Caesar has with 3. Consider what Caesar
Sleek-headed men, and such as sleep o’ nights. Antony is not heard by any of says about Cassius in
Yond Cassius has a lean and hungry look; the other characters around lines 192–195. What do
them. his words reveal about
195 He thinks too much, such men are dangerous.
the character traits of
Antony. Fear him not, Caesar, he’s not dangerous.
Cassius and of Caesar
He is a noble Roman, and well given. 197 Antony says that Cassius,
himself?
despite his appearance, is a
Caesar. Would he were fatter! But I fear him not. supporter of Caesar.
Yet if my name were liable to fear, 4. How do you think Caesar
200 I do not know the man I should avoid will act toward Cassius
in the future? Give
So soon as that spare Cassius. . . .
reasons to support your
prediction.

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 Part 4: Analyze the Literature
Use what you’ve learned about Shakespearean drama to analyze this scene
from Julius Caesar. In the scene, Cassius finally persuades Casca to join the
conspiracy against Caesar. When Cinna, another conspirator, enters, they
discuss winning over Brutus. Notice how Cassius manipulates the others,
and consider what effect the events in this scene will have on the play’s plot.

from

ct ne
Lines 103–164
Scene 3
Cassius. And why should Caesar be a tyrant then? 103–111 Cassius says the Close Read
Poor man! I know he would not be a wolf only reason for Caesar’s
1. Find examples of
strength is the weakness of
105 But that he sees the Romans are but sheep; rhetorical questions and
the Romans, who are female
He were no lion, were not Romans hinds. deer (hinds) and trash (offal) parallelism that Cassius
Those that with haste will make a mighty fire for allowing such a person as uses in lines 103–115.
Begin it with weak straws. What trash is Rome, Caesar to come to power. What ideas does he want
What rubbish and what offal, when it serves Casca to accept?
110 For the base matter to illuminate
So vile a thing as Caesar! But, O grief, 111–114 Cassius says that he 2. Reword the exchange
Where hast thou led me? I, perhaps, speak this will have to pay the penalty between Cassius and
for his words if Casca is a Casca in lines 111–120
Before a willing bondman. Then I know
submissive slave (willing
My answer must be made. But I am armed, to sound like modern
bondsman).
115 And dangers are to me indifferent. speech. Use the
sidenotes to help you.
Casca. You speak to Casca, and to such a man
That is no fleering telltale. Hold, my hand. 117 fleering telltale: sneering
Be factious for redress of all these griefs, tattletale.

And I will set this foot of mine as far 118–120 Be factious . . .

120 As who goes farthest. farthest: Form a group, or
faction, to correct (redress)
Cassius. There’s a bargain made. these wrongs, and I will go
3. Read lines 121–124 aloud as
Now know you, Casca, I have moved already as far as any other man. you think Cassius would
Some certain of the noblest-minded Romans say them. What words are
To undergo with me an enterprise emphasized by the variation
Of honorable-dangerous consequence; in the rhythm of line 124?
125 And I do know, by this they stay for me 125–126 by this . . . Porch:
In Pompey’s Porch; for now, this fearful night, Right now, they wait (stay)
for me at the entrance to the
There is no stir or walking in the streets,
theater Pompey built.
And the complexion of the element
In favor’s like the work we have in hand, 128–130 the complexion . . .
terrible: The sky (element)
130 Most bloody, fiery, and most terrible.
looks like the work we have
[Enter Cinna.] ahead of us—bloody, full of
fire, and terrible.
Casca. Stand close awhile, for here come one in haste.
Cassius. ’Tis Cinna. I do know him by his gait. 132 gait: manner of walking.
He is a friend. Cinna, where haste you so?

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 Literary Analysis Workshop

Cinna. To find out you. Who’s that? Metellus Cimber?

135 Cassius. No, it is Casca, one incorporate 135–136 it is . . . stayed for:
To our attempts. Am I not stayed for, Cinna? This is Casca, who is now
part of our plan (incorporate / Close Read
Cinna. I am glad on’t. What a fearful night is this! To our attempts). Are they 4. Review the boxed
There’s two or three of us have seen strange sights. waiting for me? details. What might
Cassius. Am I not stayed for? Tell me. the thunderstorm
Cinna. Yes, you are. foreshadow about the
140 O Cassius, if you could conspirators’ plans?
But win the noble Brutus to our party—
Cassius. Be you content. Good Cinna, take this paper 142–146 Cassius tells Cinna
And look you lay it in the praetor’s chair, to place letters for Brutus at
several locations, including
Where Brutus may but find it, and throw this
the seat of the praetor, a
145 In at his window. Set this up with wax position held by Brutus.
Upon old Brutus’ statue. All this done,
Repair to Pompey’s Porch, where you shall find us.
Is Decius Brutus and Trebonius there?
Cinna. All but Metellus Cimber, and he’s gone
150 To seek you at your house. Well, I will hie 150–151 I will . . . bade
And so bestow these papers as you bade me. me: I’ll hurry (hie) to place
(bestow) these papers as you
Cassius. That done, repair to Pompey’s Theater. instructed me.
[Exit Cinna.]
Come, Casca, you and I will yet ere day 154–156 Three parts . . . yields
See Brutus at his house. Three parts of him him ours: We’ve already won
155 Is ours already, and the man entire over three parts of Brutus.
Upon the next encounter yields him ours. The next time we meet him, 5. What qualities of Brutus
he will be ours completely.
Casca. O, he sits high in all the people’s hearts, make him so valued by
And that which would appear offense in us, 157–160 he sits . . . the conspirators?
worthiness: The people love
His countenance, like richest alchemy,
Brutus. What would seem
160 Will change to virtue and to worthiness. offensive if we did it will, like
Cassius. Him and his worth and our great need of him magic (alchemy), become 6. How would you describe
You have right well conceited. Let us go, good and worthy because of the character of Cassius,
his involvement.
For it is after midnight, and ere day judging by his words and
We will awake him and be sure of him. 162 conceited: judged. actions in this scene?
Support your answer.
[Exeunt.]

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