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Julius Caesar is a key link between Shakespeare’s histories and his tragedies. Unlike the Caesar drawn by Plutarch in a source text, Shakespeare’s Caesar is surprisingly modern: vulnerable and imperfect, a powerful man who does not always know himself. The open-ended structure of the play insists that revealing events will continue after the play ends, making the significance of the history we have just witnessed impossible to determine in the play itself. John D. Cox’s introduction discusses issues of genre, characterization, and rhetoric, while also providing a detailed history of criticism of the play. Appendices provide excerpts from important related works by Lucretius, Plutarch, and Montaigne. A collaboration between Broadview Press and the Internet Shakespeare Editions project at the University of Victoria, the editions developed for this series have been comprehensively annotated and draw on the authoritative texts newly edited for the ISE. This innovative series allows readers to access extensive and reliable online resources linked to the print edition.
What actions are justified when the fate of a nation hangs in the balance, and who can see the best path ahead? Julius Caesar has led Rome successfully in the war against Pompey and returns celebrated and beloved by the people. Yet in the senate fears intensify that his power may become supreme and threaten the welfare of the republic. A plot for his murder is hatched by Caius Cassius who persuades Marcus Brutus to support him. Though Brutus has doubts, he joins Cassius and helps organize a group of conspirators that assassinate Caesar on the Ides of March. But, what is the cost to a nation now erupting into civil war? A fascinating study of political power, the consequences of actions, the meaning of loyalty and the false motives that guide the actions of men, Julius Caesar is action packed theater at its finest.
William Shakespeare’s play Julius Caesar is a treatise on political behavior, leadership, ingratiatory behaviors, socio-political violence, defensive behavior, social and anti-social behavior, social sensitivity, psychological safety, insecurity, anxiety, mob mentality, perception, ambivalence of relationships between men, literal bribery, axiology, ideology and the frailties of human nature. The play can also help the reader in gaining insights into the esoteric concepts of Epicureanism, Stoicism and Pyrrhonism. The Education Policy (NEP 2020) of our country lays emphasis on the development of ‘foundational capacities’ of literacy and numeracy and ‘highest-order’ cognitive capacities, social, ethical, and emotional capacities and dispositions. The question papers framers will thus frame questions which gauge the skills mentioned in the preceding statement. The material in this workbook is developed with a special focus on NEP 2020.
The first book in Iain M. Banks's seminal science fiction series, The Culture. Consider Phlebas introduces readers to the utopian conglomeration of human and alien races that explores the nature of war, morality, and the limitless bounds of mankind's imagination. The war raged across the galaxy. Billions had died, billions more were doomed. Moons, planets, the very stars themselves, faced destruction, cold-blooded, brutal, and worse, random. The Idirans fought for their Faith; the Culture for its moral right to exist. Principles were at stake. There could be no surrender. Within the cosmic conflict, an individual crusade. Deep within a fabled labyrinth on a barren world, a Planet of the Dead proscribed to mortals, lay a fugitive Mind. Both the Culture and the Idirans sought it. It was the fate of Horza, the Changer, and his motley crew of unpredictable mercenaries, human and machine, actually to find it, and with it their own destruction. The Culture Series Consider Phlebas The Player of Games Use of Weapons The State of the Art Excession Inversions Look to Windward Matter Surface Detail The Hydrogen Sonata
Enter, in procession, with music, CAESAR; ANTONY, for the course; CALPHURNIA, PORTIA, DECIUS, CICERO, BRUTUS, CASSIUS and CASCA; a great crowd following, among them a SOOTHSAYER.CAESAR.Calphurnia.CASCA.Peace, ho! Caesar speaks.[Music ceases.]CAESAR.Calphurnia.CALPHURNIA.Here, my lord.CAESAR.Stand you directly in Antonius' way, When he doth run his course. Antonius.ANTONY.Caesar, my lord?CAESAR.Forget not in your speed, Antonius, To touch Calphurnia; for our elders say, The barren, touched in this holy chase, Shake off their sterile curse.ANTONY.I shall remember.When Caesar says "Do this," it is perform'd.CAESAR.Set on; and leave no ceremony out.[Music.]SOOTHSAYER.Caesar!CAESAR.Ha! Who c
In this story of the most famous assassination in history, “the last bloody day of the [Roman] Republic has never been painted so brilliantly” (The Wall Street Journal). Julius Caesar was stabbed to death in the Roman Senate on March 15, 44 BC—the Ides of March according to the Roman calendar. He was, says author Barry Strauss, the last casualty of one civil war and the first casualty of the next civil war, which would end the Roman Republic and inaugurate the Roman Empire. “The Death of Caesar provides a fresh look at a well-trodden event, with superb storytelling sure to inspire awe” (The Philadelphia Inquirer). Why was Caesar killed? For political reasons, mainly. The conspirators wanted to return Rome to the days when the Senate ruled, but Caesar hoped to pass along his new powers to his family, especially Octavian. The principal plotters were Brutus, Cassius (both former allies of Pompey), and Decimus. The last was a leading general and close friend of Caesar’s who felt betrayed by the great man: He was the mole in Caesar’s camp. But after the assassination everything went wrong. The killers left the body in the Senate and Caesar’s allies held a public funeral. Mark Antony made a brilliant speech—not “Friends, Romans, Countrymen” as Shakespeare had it, but something inflammatory that caused a riot. The conspirators fled Rome. Brutus and Cassius raised an army in Greece but Antony and Octavian defeated them. An original, new perspective on an event that seems well known, The Death of Caesar is “one of the most riveting hour-by-hour accounts of Caesar’s final day I have read....An absolutely marvelous read” (The Times, London).