Analysis

To help you look at any scene in Julius Caesar and begin to analyse it, it’s important to ask questions about how it's written and why.

Shakespeare’s plays are driven by their characters and every choice that’s made about words, structure and rhythm tells you something about the person, their relationships or their mood in that moment. You should always try and ask yourself, like actors do, why is the character saying what they are saying or doing what they are doing? What is their motive?

Just like Detectives, we need to look for clues to help us answer those questions each time and below you can find some interrogation techniques we use to analyse text, introduced by the actors that use them. 

  • Analysing Rhetorical Language

    The language of rhetoric, or persuasive speaking, is very important in Julius Caesar. Both in Shakespeare’s time and in Ancient Rome, public speaking and the ability to move a crowd was a highly valued skill, particularly in politics.

    In this video, you can hear RSC actor, Alex Waldmann talk about Brutus’ use of rhetoric in his speech to the crowd at Caesar’s funeral in Act 3 Scene 2. It is a good idea to keep a list of where these skills are used in Julius Caesar. Here is a list of rhetorical features to look for:

    • Repetition
    • Antithesis
    • Emotion

    Both Brutus and Antony go head to head in Act 3 Scene 2. Watch Paterson Joseph, playing Brutus, and Ray Fearon, playing Antony, in the 2012 production to see the two characters' different uses of rhetoric in action.

    Antony
    Friends, Romans, countrymen, lend me your ears.
    I come to bury Caesar, not to praise him.
    The evil that men do lives after them;
    The good is oft interrèd with their bones.
    So let it be with Caesar. The noble Brutus
    Hath told you Caesar was ambitious.
    If it were so, it was a grievous fault,
    And grievously hath Caesar answered it.
    Here, under leave of Brutus and the rest
    (For Brutus is an honorable man;
    So are they all, all honorable men),
    Come I to speak in Caesar’s funeral.
    He was my friend, faithful and just to me,
    But Brutus says he was ambitious,
    And Brutus is an honorable man.
    He hath brought many captives home to Rome,
    Whose ransoms did the general coffers fill.
    Did this in Caesar seem ambitious?
    When that the poor have cried, Caesar hath wept;
    Ambition should be made of sterner stuff.
    Yet Brutus says he was ambitious,
    And Brutus is an honorable man.
    You all did see that on the Lupercal
    I thrice presented him a kingly crown,
    Which he did thrice refuse. Was this ambition?
    Yet Brutus says he was ambitious,
    And sure he is an honorable man.
    I speak not to disprove what Brutus spoke,
    But here I am to speak what I do know.
    You all did love him once, not without cause.
    What cause withholds you, then, to mourn for
    him?—
    O judgment, thou art fled to brutish beasts,
    And men have lost their reason!—Bear with me;
    My heart is in the coffin there with Caesar,
    And I must pause till it come back to me.

    Questions to consider

    How do Antony and Brutus each use repetition and antithesis? Ask yourself:

    • Does Brutus’ use of repetition make him easier or harder to listen to? Which of his words stand out as a result of being repeated? Repetition usually helps to plant ideas in the minds of the people listening. If you write down all the words that Brutus repeats more than others, what would you think his speech was about?
    • How does Antony talk about Brutus? How many times does he repeat the words ‘honourable man’ and how does the meaning of this statement change each time he uses it?
    • How many examples of antithesis can you find in Brutus’ speech? Looking back at the first video, what does Alex Waldmann do in performance to make these opposites stand out?

    Showing emotion or inspiring emotion in your audience is an important skill for a public speaker. Thinking about these two speakers, ask yourself:

    • What does Antony say and do in this speech to move the crowd emotionally?
    • At what moments do you think Brutus or Antony show emotion of their own? How are you able to tell? Which of them feels more emotionally charged and what is the impact of that?
    • Look at Antony’s speech in the text and think about his use of repetition, antithesis and emotion. Just as Alex thinks about in the first video, when talking about Brutus, can you imagine how an actor playing Antony might perform this speech?

    Using Alex’s points on rhetoric, we’ve started to look at how Antony persuades and moves the mob/crowd in his Act 3 Scene 2 speech. See if you can complete the grid and finish four points which explain how he uses language to get the crowd to agree with him.

    Point

    Antony speaks plainly to gain the crowd’s trust.

    Evidence

    ‘I come to bury Caesar, not to praise him. / The evil that men do lives after them; / The good is oft interrèd with their bones. / So let it be with Caesar.’

    Explanation

    Antony is able to win over his audience by claiming that he isn’t going to defend Caesar or attack his murderers, a tactic he uses to make the people feel less defensive. This is a common rhetorical device. He also uses antithesis to build simple arguments which are easy to follow, using the words ‘bury’ and ‘praise’, ‘evil’ and ‘good’ in the opening of his speech to the crowd.

    Point

    Antony encourages the crowd to trust him by undermining Brutus and the points he makes about Caesar.

    Evidence Select an option

    Explanation Click text to edit

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    Point

    Antony displays his own emotions to move the emotions of the crowd and turn them against Caesar’s murderers.

    Evidence Click text to edit

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    Explanation Click text to edit

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    What else can I do to explore Antony’s language?

    • Try applying these same strategies to all of Antony’s lines to reveal any changes in his language and behaviour. Pay attention to any soliloquies he has, as these moments can reveal a character’s true thoughts.
    • Think about how many modern examples you know of great rhetorical speeches. How is political speaking changing? Is rhetoric still important? You can also watch Mark Thompson, the CEO of the New York Times, talking about rhetoric in the modern media and consider why Antony’s speech to the people is so crucial.
    • Compare how Antony speaks to the conspirators after the murder to how he addresses Caesar’s body after they leave. Notice his choice of words. What do they reveal about where his loyalties and true feelings lie?
    • Continue exploring and comparing the two speeches we have looked at in Act 3 Scene 2. What do they say about Antony and Brutus’ relationships to the common man?

  • Analysing Caesar's Language

    Caesar only has 5% of the lines in Julius Caesar but his words leave a lasting impression. At the start of the play, Caesar returns after a military triumph to a divided Rome. Some people want him crowned king, others fear his ambition will make him a tyrant if crowned. Ignoring many warnings to his safety, Caesar is murdered in public by people he trusts. A lot of conflicting things are said about Caesar by other characters. He is accused of being ‘weak’, ‘feeble’, ’ambitious’ and ‘superstitious’ by his enemies and considered ‘mighty’, ‘great’ and ‘sweet’ by his friends. By examining how Caesar speaks, particularly about himself, we can create a better picture of who the character really is.

    In this video, watch RSC actor, Alex Waldmann explain what the threat of Caesar means to Brutus.

    Can you find any evidence of this dangerous ambition in the things Caesar actually says?

    In this video, Mark Quartley shares some of the things he looks for to help understand how a character is feeling in a speech. The example he is using is a monologue from The Tempest but you can look for the same clues in Julius Caesar.

    After watching, read Caesar’s words from Act 3 Scene 1, just before he is murdered. In this scene, Caesar is hearing petitions outside the Capitol. What do you notice about how Caesar speaks that reveals his character? As you read, see if you can notice the things Mark tells us to look out for:

    • Imagery
    • Metre
    • Word choice
    Metellus
    Most high, most mighty, and most puissant Caesar,
    Metellus Cimber throws before thy seat
    An humble heart.
    Powerful.
    Caesar
    I must prevent thee, Cimber.
    These couchings and these lowly courtesies
    Might fire the blood of ordinary men
    And turn preordinance and first decree
    Into the law of children.     Be not fond
    To think that Caesar bears such rebel blood
    That will be thawed from the true quality
    With that which melteth fools—I mean sweet words,
    Low-crookèd curtsies, and base spaniel fawning.
    Thy brother by decree is banishèd.
    If thou dost bend and pray and fawn for him,
    I spurn thee like a cur out of my way.
    Know: Caesar doth not wrong, nor without cause
    Will he be satisfied.
    This bowing and this bending low
    Turn law and order into a child's game
    Foolish
    Fickle pride
    Coaxed
    Real nature
    Persuades
    The cringing of a lowly dog
    Kick you like a wild dog
    Metellus
    Is there no voice more worthy than my own
    To sound more sweetly in great Caesar’s ear
    For the repealing of my banished brother?

    Questions to consider

    • What are the key images that stand out for you in Caesar’s speech? What visual pictures do they suggest in your mind and how does that help you see Caesar as he sees himself?
    • How different is the way Caesar speaks to that of the other men? What does this say about his position compared to them?
    • How regular is the metre or number of syllables in his lines? Can you spot any irregularities and if so, what might they reveal about how Caesar is feeling?
    • What words that he uses stand out to you? What does this tell you about how Caesar wants to affect the people around him?

    Using Mark's strategies, we’ve started to look at the language Caesar uses in Act 3 Scene 1. See if you can complete the grid and finish four points which explain what Caesar’s words reveal about him and his ambition.

    Point

    Caesar thinks flattery is for ordinary men and fools and that he is above it.

    Evidence

    ‘I must prevent thee, Cimber.’

    Explanation

    Caesar’s first line completes the last line of Metellus’. The line continues the metre of the iambic pentameter and makes it one complete sentence. This firmly stops Metellus in full flow and leaves no room for him to continue with his flattery.

    Point

    Caesar makes himself sound important by addressing himself in the third person.

    Evidence Select an option

    Explanation Click text to edit

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    Point

    Caesar compares himself to great and powerful things and thinks he is untouchable.

    Evidence Click text to edit

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    Explanation Click text to edit

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    What else can I do to explore Caesar's language?

    • Examine how Caesar speaks to others in Act 3 Scene 1. What does it tell you about his opinion of the men around him? How many times does he interrupt people and is he really listening to what they have to say?
    • What do you notice in the same scene if you emphasise the first and last word of each of his lines? Try applying these same strategies to the other lines Caesar has in the play. Consider how Caesar’s language changes in different moments in the play and what this might reflect about how he feels at those moments.
    • Look at how Shakespeare introduces Caesar and the first things that are said about him in Act 1. We hear lots of different opinions about his style of leadership and his ability as a leader. Try collecting this evidence together, looking at the language that is used to create a picture of him. What kind of ruler was Caesar?

  • Analysing the Imagery

    As with all of Shakespeare’s plays, there are lots of types of imagery used in Julius Caesar. It’s a great idea to keep a list of the key quotes and imagery used in each act.

    Here are three types of imagery that come up a lot in Julius Caesar:

    Blood Imagery

    • Many characters use images of blood throughout Julius Caesar, emphasising the ideas of sacrifice and butchery. Calphurnia has dreams featuring a war in the heavens ‘Which drizzled blood upon the Capitol’ (2:2) and a statue of Caesar which ‘like a fountain with an hundred spouts, / Did run pure blood; and many lusty Romans / Came smiling and did bathe their hands in it.’ (2:2) This second image becomes real when Brutus tells his fellow conspirators to bathe their ‘hands in Caesar’s blood /Up to the elbows’ (3:1)
    • How many examples of blood imagery can you find in the play and what does it reveal about the character who uses it? Why do you think Shakespeare draws on this imagery?

    Natural Imagery

    • The unnatural behaviour of weather and animals feature strongly in this play. Many are seen as omens of bad things to come, as Casca says: ‘I met a lion, / Who glared upon me and went surly by / Without annoying me.’ (1:2)
    • Characters are also compared to beasts and animals, giving insights to how they are perceived by others. Cassius talks of Caesar in Act 1 Scene 3, saying ‘I know he would not be a wolf / But that he sees the Romans are but sheep; / He were no lion, were not Romans hinds.’
    • A violent storm begins Act 3 with Casca commenting ‘never till now, / Did I go through a tempest dropping fire.’ (3:1) Cassius also likens fate to a ship in a storm, saying ‘Why now, blow wind, swell billow, and swim bark! / The storm is up, and all is on the hazard.’ (5:1)
    • How many examples of natural imagery or references to the weather can you find in the play and why do you think Shakespeare uses so many of them? How do they affect the mood of the scene?

    Sickness Imagery

    • Physical illness and sickness are really important in Julius Caesar as they often draw attention to the state of a character’s mind and even the state of Rome itself. In Act 1 Scene 2, Cassius talks about the physical weaknesses of Caesar. When Casca enters, he says ‘He fell down in the marketplace and foamed at mouth and was speechless.’ (1:2) The plot to kill Caesar is also offered as a remedy to cure a sick man when Ligarius braves his illness to visit Brutus. In this scene Brutus describes the assassination plot as ‘A piece of work that will make sick men whole’ (2:1) and Ligarius replies ‘But are not some whole that we must make sick?’, hinting that he knows Caesar must die.
    • Take a closer look at the extract from Act 2 Scene 1 on this page to explore how Portia uses the imagery of sickness in her appeal to Brutus. Why do you think Shakespeare uses this language so much here? Why is it effective to connect physical illness to an illness of the mind?

    Portia
    It will not let you eat nor talk nor sleep,
    And could it work so much upon your shape
    As it hath much prevailed on your condition,
    I should not know you Brutus.     Dear my lord,
    Make me acquainted with your cause of grief.
    And if it could change the way you look in the same way it's changed your behaviour, I would not know who you were when I looked at you Brutus.
    Brutus
    I am not well in health, and that is all.
    Portia
    Brutus is wise and, were he not in health,
    He would embrace the means to come by it.
    Brutus is sensible and intelligent and if he was feeling ill he would accept help so he could be healthy again.
    Brutus
    Why so I do. Good Portia, go to bed.
    Portia
    Is Brutus sick? And is it physical
    To walk unbracèd and suck up the humors
    Of the dank morning? What, is Brutus sick,
    And will he steal out of his wholesome bed
    To dare the vile contagion of the night
    And tempt the rheumy and unpurgèd air
    To add unto his sickness?     No, my Brutus,
    You have some sick offense within your mind,
    Which by the right and virtue of my place
    I ought to know of. (She kneels) And upon my knees
    I charm you, by my once commended beauty,
    By all your vows of love, and that great vow
    Which did incorporate and make us one,
    That you unfold to me, your self, your half,
    Why you are heavy,     and what men tonight
    Have had resort to you; for here have been
    Some six or seven who did hide their faces
    Even from darkness.
    If you are genuinely ill, why would you leave the protection of your bed to risk catching an infection from the damp air and making it worse?
    What do you think Portia means when she says Brutus’ sickness is within his mind? Do you think she knows what is wrong with him?
    I beg you, by my once-praised beauty, by all your vows of love and by the legal vow of marriage, that made the two of us one person, tell me why you are troubled.
    Visited.
    Portia saw the conspirators leaving with their faces covered. Why do you think she mentions them to Brutus?
    Brutus
    Kneel not, gentle Portia.
    Portia
    I should not need, if you were gentle Brutus.
    Within the bond of marriage, tell me, Brutus,
    Is it excepted I should know no secrets
    That appertain to you?     Am I your self
    But, as it were, in sort or limitation,
    To keep with you at meals, comfort your bed,
    And talk to you sometimes? Dwell I but in the suburbs
    Of your good pleasure?     If it be no more,
    Portia is Brutus’ harlot, not his wife.
    How many questions does Portia ask Brutus and why do you think she doesn’t wait for a response, or answers them herself? What effect does this have?
    Am I only on the edges of your life and not at the centre of it?
    Whore or prostitute.
    Brutus
    You are my true and honourable wife,
    As dear to me as are the ruddy drops
    That visit my sad heart.
    How close do you think Brutus is to telling Portia everything in this moment? Why doesn’t he?
    You are as important and precious to me as the blood that runs through my sad heart.

    Thinking about Act 2 Scene 1, we’ve started to look at what the imagery of sickness and word choices in the scene tell us about Portia and Brutus. See if you can complete the grid below and create three points which explain what this language shows us about their relationship at this point in the play.

    Point

    Portia cares about Brutus, she knows he is not just sick but is worried about something serious.

    Evidence

    ‘Hoping it was but an effect of humour, / Which sometime hath his hour with every man.’

    Explanation

    Portia wants Brutus to realise how much his behaviour has changed. She hoped this change was just a passing mood but now she realises things are more serious. By using the word ‘his’, Portia compares a person’s mood to a passing visitor that stays for a while and then moves on which also suggests she thinks the change in Brutus is temporary.

    Point

    Portia questions Brutus' decision to go outside if he is ill, hoping to make him tell her the truth.

    Evidence Select an option

    Explanation Click text to edit

    Enter your explanation here

    Point

    Portia shows Brutus proof that she is strong and can cope with difficulty.

    Evidence Click text to edit

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    Explanation Click text to edit

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    Point Click text to edit

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    Evidence Click text to edit

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    Explanation Click text to edit

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  • Analysing the Themes

    As with all Shakespeare’s plays, there are lots of themes that appear in Julius Caesar. It’s a great idea to keep a list of key quotes and examples of these themes in each act as you go through the play, looking at where they come up.

    Here are three themes to look out for:

    Theme of Superstition

    • Superstition appears in Julius Caesar from the very start of the play. Within moments of Caesar’s first appearance, he is hailed by a Soothsayer who delivers an ominous warning, saying ‘Beware the ides of March.’ (1:2) Caesar’s very first action in the play is to position his wife close to Antony during a race, thinking it will break her ‘barren curse’, and in Act 2 Scene 2 Calphurnia's dreams prompt Caesar to order a sacrifice to the gods.
    • There is a surge of omens leading up to Caesar’s murder and both Casca and Calphurnia see significance in so many of them happening at once. Even the cynical Cassius gets superstitious after losing confidence during the battle in Act 5 Scene 1. Which of these signs and omens appear more than others?
    • See how many references to omens and signs you can find in the play and make note of who says them and their reaction. What does it say about the characters? Who believes in omens and who doesn’t? Who changes their mind about them during the action of the play?

    Theme of Ambition

    • Ambition is the source of most of the conflict in Julius Caesar. Cassius and Brutus are convinced that Caesar is driven by ambition. Brutus describes him as ‘a serpent’s egg’ which ‘hatch’d, would, as his kind, grow mischievous.’ (2:1). Look closely at what Caesar actually says and does in the play. If allowed to become king, do you think Caesar would abuse his power?
    • Examine how Cassius speaks about Caesar. He tells Brutus that he ‘was born as free as Caesar; so were you.’ (1:2). He describes himself as ‘A wretched creature’ who must bow if ‘Caesar carelessly but nod on him.’(1:2) Do his words reveal more about Cassius than Caesar? Notice what Caesar says about Cassius. How ambitious do you think Cassius is to get his own way? What ambitions do the other conspirators have and how far does this motivate them? Does Brutus have an ambition?
    • See how many references to ambition you can find in the play. Caesar is not the only character to show ambition. Look particularly at Antony’s path to success throughout the action. What does this reveal about him?

    Theme of Loyalty

    • Loyalty is very important in Julius Caesar as it creates a lot of suspense and drama. Many characters put their trust in people who seem loyal and trustworthy but are not. Antony believes Cassius is loyal, telling Caesar ‘he’s not dangerous; / He is a noble Roman, and well given’ (1:2). Caesar puts his trust in each of the conspirators, who make a show of loyalty before betraying him, calling him ‘Most high, most mighty, and most puissant Caesar’ (3:1). With his dying breath, Caesar even recognises his most loyal friend as his murderer, asking ‘Et tu, Brute?’ (3:1) and showing surprise at Brutus' betrayal. The loyalty between Brutus and Cassius is also tested many times before their deaths. Note how many times they call each other ‘brother’ throughout the play. What kind of relationship do you think they have? Is their loyalty to each other or something else?
    • See how many references to loyalty you can find in the play. Which characters are particularly valued by others for being trustworthy? Who considers themselves loyal?

Teacher Notes

The following activities will help you to explore the art of rhetoric and persuasive speaking with students.

Rhetoric Activities (2012)

The activities can be found on pages 11-16 and look at different aspects of rhetoric using Antony’s speech in Act 3 Scene 1.

You can also print the PEE grids from each of the sections on this page to help students explore the language of central characters and some of the imagery used in more detail.