BRUTUS
Let's be sacrificers, but not butchers, Caius.
We all stand up against the spirit of Caesar,
And in the spirit of men there is no blood.
O that we then could come by Caesar's spirit,
And not dismember Caesar! But alas,
Caesar must bleed for it. And gentle friends,
Let's kill him boldly, but not wrathfully;
Let's carve him as a dish fit for the gods,
Not hew him as a carcass fit for hounds.
. . .

Brutus's words in this passage reveal his conflicted nature and his desire to maintain a moral high ground even as he commits a grave act. He draws a distinction between being "sacrificers" and "butchers," highlighting his wish to elevate the assassination of Caesar to a noble, almost ritualistic act rather than a savage murder. By comparing the act to "a dish fit for the gods," Brutus seeks to frame the killing as necessary and honorable, rather than brutal and barbaric. This perspective underscores his internal struggle; he wishes to preserve the essence of Caesar without resorting to base violence. The imagery of carving versus hewing emphasizes the delicacy and intention Brutus wants to infuse into the act, reflecting his complex moral reasoning and the gravity of the conspiracy's undertaking.

ANTONY
He [Caesar] was my friend, faithful, and just to me;
But Brutus says, he was ambitious,
And Brutus is an honourable man.
He [Caesar] 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 honourable man.
. . .

Mark Antony masterfully employs rhetoric to undermine Brutus's justification for Caesar's assassination. In this passage, Antony repeatedly refers to Brutus as "an honourable man" while simultaneously contradicting Brutus’s claim of Caesar’s ambition. Antony highlights Caesar's compassionate actions, such as his generosity toward captives and empathy for the poor, challenging the notion that such traits align with unchecked ambition. By stating "Ambition should be made of sterner stuff," Antony suggests that true ambition is harsh and selfish, unlike Caesar's character. This rhetorical strategy sows doubt among the listeners, subtly turning public sentiment against the conspirators without overtly attacking them. Antony's speech is a pivotal moment in "Julius Caesar," demonstrating his cunning ability to manipulate public opinion and incite action through the power of words.

CAESAR
Et tu Brute? Then fall Caesar.
CINNA
Liberty! Freedom! Tyranny is dead.
Run hence, proclaim, cry it about the streets.
CASSIUS
Some to the common pulpits, and cry out,
Liberty, freedom, and enfranchisement!
BRUTUS
People and senators, be not affrighted,
Fly not, stand still. Ambition's debt is paid.
. . .
METELLUS
Stand fast together, lest some friend of Caesar's
Should chance–
BRUTUS
Talk not of standing. Publius, good cheer,
There is no harm intended to your person,
Nor to no Roman else: so tell them Publius.

In this passage from Julius Caesar, the assassination marks not only a political upheaval but also a collision of personal loyalties and public duty. Caesar’s final words, "Et tu Brute? Then fall Caesar," encapsulate the profound sense of betrayal he feels upon seeing his friend among the conspirators. The cry for "Liberty! Freedom! Tyranny is dead" from Cinna and Cassius underscores their belief that Caesar’s death is a necessary purge to restore Roman freedom. Brutus’s statement, "Ambition's debt is paid," signifies the completion of a moral reckoning. He implies that Caesar’s ambition has led to his inevitable demise, thus justifying the assassination as a payment owed to the republic. Brutus’s attempt to calm the senators highlights his internal conflict—he hopes to reassure them that the act was not personal vengeance but rather a bid to preserve Rome's democratic ideals.

BRUTUS
Let me tell you Cassius, you yourself
Are much condemned to have an itching palm,
To sell and mart your offices for gold
To undeservers.
CASSIUS
I, an itching palm?
. . .
BRUTUS
. . .
Did not great Julius bleed for justice' sake?
. . .
What, shall one of us,
That struck the foremost man of all this world
But for supporting robbers, shall we now
Contaminate our fingers with base bribes,
And sell the mighty space of our large honours
For so much trash as may be grasped thus?
I had rather be a dog, and bay the moon,
Than such a Roman.

Brutus's accusation of Cassius having "an itching palm" reveals deep-seated tensions and disillusionment within the ranks of Caesar's assassins. Brutus, a symbol of integrity and virtue, confronts Cassius over his supposed corruption, suggesting that he has been selling political favors for gold to the undeserving. This condemnation underscores Brutus's idealism and moral rigidity, setting him apart from the more pragmatic and perhaps morally flexible Cassius. By invoking the memory of "great Julius" who "bleed for justice' sake," Brutus questions the ethical compass of their actions against Caesar. He is appalled by the notion of sullying their honor for "base bribes" and crass monetary gain, emphasizing his preference for noble principles over wealth. His statement, "I had rather be a dog, and bay the moon, Than such a Roman," poignantly encapsulates his disdain for avarice and his commitment to uphold the Roman virtues he holds dear.

BRUTUS
Another general shout?
I do believe that these applauses are
For some new honours that are heaped on Caesar.
CASSIUS
Why man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs, and peep about
To find ourselves dishonorable graves.
. . .

The metaphor used by Cassius in this passage from Julius Caesar vividly captures the disparity in power and stature between Caesar and the rest of the Roman citizens. Cassius compares Caesar to a Colossus, an enormous statue that symbolizes dominance and grandeur. This comparison suggests that Caesar's influence is so expansive and overwhelming that ordinary men seem insignificant and powerless in comparison. They "peep about," illustrating their lack of agency and reduced status, while Caesar commands the stage of the world. The phrase "dishonorable graves" implies that living under Caesar’s shadow leads to a life devoid of dignity and freedom. This line reveals Cassius's resentment and foreshadows the brewing conspiracy against Caesar, highlighting themes of power, ambition, and the struggle for control in the Roman political landscape.

CAESAR
Who is in the press that calls on me?
I hear a tongue shriller than all the music
Cry Caesar. Speak; Caesar is turned to hear.
SOOTHSAYER
Beware the ides of March.
CAESAR
What man is that?
BRUTUS
A soothsayer bids you beware the ides of March.
CAESAR
Set him before me, let me see his face.
. . .
What sayst thou to me now? Speak once again.
SOOTHSAYER
Beware the ides of March.

This passage from Shakespeare’s Julius Caesar occurs in the midst of celebration, yet it introduces an ominous note that foreshadows the tragic events to come. The soothsayer’s warning, "Beware the ides of March," serves as a premonition of Caesar’s impending assassination. Despite the gravity of the message, Caesar dismisses it, reflecting his hubris and sense of invincibility. This moment is pivotal as it underscores a major theme of the play: the struggle between fate and free will. Caesar's inability to heed this warning highlights his tragic flaw, which ultimately leads to his downfall. The soothsayer’s foreboding words have transcended the play, becoming synonymous with ignoring warnings or signs that predict disaster.

CAESAR
I could be well moved, if I were as you;
If I could pray to move, prayers would move me.
But I am constant as the northern star,
Of whose true-fixed and resting quality
There is no fellow in the firmament.
. . .

In this passage from Julius Caesar, Caesar's assertion of immutability and steadfastness mirrors his perception of himself as an unyielding and eternal figure, akin to the northern star. This celestial metaphor underscores his belief in his singularity and superiority—qualities he deems unmatched in the universe. However, what Caesar celebrates as strength and constancy ultimately reveals his tragic flaw: an unwavering rigidity and hubris. By elevating himself as a figure above others, immune to persuasion or change, Caesar neglects the fluidity and adaptability required in leadership. Ironically, while he prides himself on his constancy, it is this very trait that blinds him to the dangers surrounding him. His failure to heed warnings and adapt his course places him at the mercy of the conspirators, leading to his downfall. Thus, the quote encapsulates both Caesar's grandeur and his impending vulnerability.

CALPHURNIA
When beggars die, there are no comets seen;
The heavens themselves blaze forth the death of princes.
CAESAR
Cowards die many times before their deaths,
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear,
Seeing that death, a necessary end,
Will come when it will come.

Here, in Shakespeare's Julius Caesar, we find Caesar dismissing his wife Calphurnia's fears with stoic resolve. Calphurnia warns that the omens portend the death of someone significant, but Caesar rebuffs her by comparing cowardice to repeated deaths. He suggests that fearing death is irrational since it is inevitable and comes but once to the brave. This moment underscores Caesar's hubris and foreshadows his downfall; he perceives himself as invincible, a princely figure unaffected by ordinary fears. The dialogue reveals the tension between fate and free will, with Caesar choosing to confront his destiny head-on, disregarding warnings. His attitude reflects the human struggle with mortality and the acceptance of fate, themes central to the play's tragic arc.

CASCA
Speak hands for me.
[They stab Caesar, Brutus last]
CAESAR
Et tu Brute? Then fall Caesar. [Dies]

In Shakespeare’s “Julius Caesar,” the line "Et tu Brute?" captures the ultimate betrayal. Caesar’s shock at seeing Brutus among his attackers encapsulates the deep sense of disappointment and disbelief felt when a trusted ally turns foe. The simplicity of the phrase, with its mix of disbelief and resignation, underscores the gravity of Brutus' betrayal. Caesar’s subsequent fall signifies both his physical defeat and the emotional devastation of losing a dear friend’s loyalty. Through these words, Shakespeare vividly illustrates a poignant moment of personal and political collapse, where personal relationships intertwine tragically with the harsh machinations of power and ambition. This quote has since transcended the play, becoming a universal expression for unexpected betrayal by someone close.

ANTONY
. . .
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 honourable man,
So are they all, all honourable men–
Come I to speak in Caesar's funeral.
. . .

In this passage from Shakespeare's Julius Caesar, Mark Antony employs irony to sway the public's opinion. Although he repeatedly calls Brutus and the other conspirators "honourable men," Antony's tone suggests the opposite. His words serve not to praise the conspirators but to plant doubt in the minds of the listeners about their motives and actions. By highlighting Brutus's earlier claim of Caesar's ambition as a "grievous fault," Antony subtly undermines Brutus's justification for the assassination. This rhetorical strategy ultimately stirs the emotions of the crowd, inciting them to question the righteousness of Caesar's murder. Antony's speech becomes a pivotal moment in the play, showcasing his cunning and ability to manipulate public sentiment, thereby setting the stage for the ensuing chaos in Rome.

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 interred with their bones;
So let it be with Caesar.
. . .

Mark Antony opens his famous speech with an appeal for attention, setting a tone of respect and urgency. By addressing the Roman citizens as "Friends, Romans, countrymen," he positions himself as one of them, cultivating a sense of shared identity and camaraderie. His assertion that he comes "to bury Caesar, not to praise him" cleverly disarms any suspicions Brutus's faction may hold, while subtly preparing the ground for his true intentions. Antony's observation that "the evil that men do, lives after them," while "the good is oft interred with their bones," is a profound commentary on human nature and legacy. This statement foreshadows his strategy to highlight Caesar's positive traits and question the righteousness of the assassination. Antony's rhetorical skill here is pivotal, as he gradually dismantles the conspirators' justifications, turning public sentiment against them. This moment marks the beginning of Antony's manipulation of public opinion, leading to the eventual downfall of Caesar's murderers.

ANTONY
These many then shall die; their names are pricked.
OCTAVIUS
Your brother too must die; consent you Lepidus?
LEPIDUS
I do consent.
OCTAVIUS
Prick him down, Antony.
LEPIDUS
Upon condition Publius shall not live,
Who is your sister's son, Mark Antony.
ANTONY
He shall not live; look, with a spot I damn him.
But Lepidus, go you to Caesar's house.
Fetch the will hither, and we shall determine
How to cut off some charge in legacies.
LEPIDUS
What, shall I find you here?
OCTAVIUS
Or here, or at the Capitol.

In Shakespeare's Julius Caesar, the scene reveals the cold and calculated political maneuvers that follow Caesar's assassination. Antony's statement, "He shall not live; look, with a spot I damn him," is a chilling illustration of how personal connections and familial ties are easily severed in the ruthless scramble for power. Here, Antony agrees to mark Publius, his own nephew, for death without hesitation, indicating the depth of his commitment to the political cause. It underscores the harsh reality of political purges, where alliances shift and loyalty is disposable. This dialogue captures the intense and often brutal nature of political strategy, where leaders must make difficult decisions to consolidate power, foreshadowing the chaos and bloodshed that follow in the play. The ruthless pragmatism of Antony and his co-conspirators underscores the theme of the corrupting influence of power and ambition.

PORTIA
. . .
[aside.] O constancy, be strong upon my side,
Set a huge mountain 'tween my heart and tongue.
I have a man's mind, but a woman's might.
How hard it is for women to keep counsel!

In this moment from Julius Caesar, Portia reveals the internal struggle she faces as she grapples with the weight of a perilous secret. Her husband, Brutus, is part of a conspiracy to kill Caesar, and she is torn between her intellect and her emotions. Portia's plea to "set a huge mountain 'tween my heart and tongue" underscores her desire to maintain silence despite her instinct to speak out. Her reflection on "a man's mind, but a woman's might" highlights the gender expectations of her time, suggesting an inner conflict between her rational thoughts and the perceived limitations of her "woman's might." This quote is significant as it brings to light Portia's strength and vulnerability, illustrating the challenges faced by women in a patriarchal society where their words and actions are often constrained by societal norms.

ANTONY
Have patience gentle friends, I must not read it.
It is not meet you know how Caesar loved you.
. . .
Will you be patient? Will you stay awhile?
I have o'ershot myself to tell you of it.
I fear I wrong the honourable men,
Whose daggers have stabbed Caesar; I do fear it.
. . .
You will compel me then to read the will?
Then make a ring about the corpse of Caesar
And let me show you him that made the will.
. . .
If you have tears, prepare to shed them now.
. . .

In this strategic speech from Shakespeare's Julius Caesar, Mark Antony cleverly manipulates the crowd's emotions, setting the stage for their transformation from spectators to participants in a burgeoning rebellion. By feigning reluctance to read Caesar's will and emphasizing the love Caesar held for them, Antony builds suspense and stirs curiosity. His repeated references to the "honourable men," the very assassins of Caesar, drips with irony. He subtly instills doubt in the crowd about the conspirators' integrity. The line, "If you have tears, prepare to shed them now," serves as a poignant climax. It urges the crowd to brace for emotional upheaval, preparing them for the revelation of Caesar’s generosity and the betrayal he suffered. Antony's calculated rhetoric ignites the crowd's fury, ultimately sealing the fate of Brutus and his co-conspirators.

CASSIUS
Did Cicero say any thing?
CASCA
Ay, he spoke Greek.
CASSIUS
To what effect?
CASCA
Nay, an I tell you that, I'll ne'er look you i' th' face again. But those that understood him smiled at one another, and shook their heads; but for mine own part, it was Greek to me. . . .

In this exchange from Shakespeare's Julius Caesar, the phrase "it was Greek to me" conveys Casca's inability to comprehend Cicero's speech, which was delivered in Greek. The quote has since transcended its original context, becoming a universal idiom for anything unintelligible. Casca's remark highlights both the intelligence of those who did understand the speech and his own sense of exclusion from their intellectual circle. By placing this phrase in the mouth of Casca, Shakespeare allows a moment of humor within the tense political atmosphere. It underlines the theme of miscommunication and misunderstanding that runs throughout the play, as characters struggle with interpreting motives and actions in their shifting political landscape. The quote's lasting legacy speaks to its resonance with anyone who has ever felt out of their depth in the face of complexity or erudition.

ANTONY
O pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers.
. . .
Woe to the hand that shed this costly blood!
Over thy wounds now do I prophesy,
. . .
A curse shall light upon the limbs of men;
Domestic fury, and fierce civil strife,
Shall cumber all the parts of Italy.
. . .
And Caesar's spirit ranging for revenge,
. . .
Shall in these confines, with a monarch's voice,
Cry havoc, and let slip the dogs of war,
That this foul deed shall smell above the earth
With carrion men, groaning for burial.

In this chilling monologue, Mark Antony stands alone with the slain Julius Caesar and reveals his true intentions. While he has just publicly appeared to align with the conspirators, his private words are filled with outrage and a thirst for vengeance. Antony's address to Caesar's "bleeding piece of earth" captures his sense of personal betrayal and his promise of retribution. The imagery of "domestic fury" and "fierce civil strife" foreshadows the chaos and conflict that will engulf Rome as a result of this assassination. His invocation to "let slip the dogs of war" is a potent metaphor, suggesting that once unleashed, the brutal forces of conflict will be uncontrollable, ravaging the land and leaving devastation in their wake. Antony's speech not only propels the narrative toward inevitable conflict but also underscores his cunning, as he masks his true motives until the opportune moment to act arises.

BRUTUS
. . .
Romans, countrymen, and lovers, hear me for my cause, and be silent, that you may hear. Believe me for mine honour, and have respect to mine honour, that you may believe. Censure me in your wisdom, and awake your senses, that you may the better judge. If there be any in this assembly, any dear friend of Caesar's, to him I say, that Brutus' love to Caesar was no less than his. If then, that friend demand, why Brutus rose against Caesar, this is my answer–not that I loved Caesar less; but that I loved Rome more. Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all free men? . . .

In his speech, Brutus addresses the tension between personal loyalty and civic duty. He seeks to justify his role in Caesar's assassination by appealing to his audience's sense of reason and justice. Brutus argues that his actions were not born of a lack of affection for Caesar, but rather from a deeper allegiance to the well-being of Rome. His rhetorical question about choosing between living as slaves under Caesar or dying free men underscores the gravity of his decision and attempts to sway public opinion by framing it as a sacrifice for the greater good. This moment encapsulates the inner conflict that arises when personal bonds clash with one's duty to the state, a recurring theme in discussions of governance and morality.

ANTONY
. . . Was this ambition?
Yet Brutus says, he was ambitious;
And sure he is an honourable 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.

In this excerpt from Shakespeare’s "Julius Caesar," Mark Antony skillfully manipulates public sentiment in the wake of Caesar’s assassination. Antony ostensibly agrees with Brutus, repeatedly referring to him as "an honourable man," while simultaneously sowing doubt by highlighting Caesar's virtuous acts and questioning the rationale behind his murder. By asserting that "O judgment, thou art fled to brutish beasts," Antony suggests that the populace has abandoned reason, succumbing instead to base instincts. His emotional appeal, underscored by a poignant pause—"My heart is in the coffin there with Caesar"—serves to humanize Caesar and evoke sympathy, ultimately stirring the crowd’s fury against the conspirators. Antony’s speech exemplifies the power of rhetoric to sway public opinion and ignite action.

ANTONY
O mighty Caesar! Dost thou lie so low?
Are all thy conquests, glories, triumphs, spoils,
Shrunk to this little measure? Fare thee well.
. . .

In this poignant moment from "Julius Caesar," Mark Antony stands over the slain body of Caesar, grappling with the stark reality of his demise. The mighty leader, who once commanded armies and reaped vast spoils of war, now lies reduced to a lifeless form. Antony’s lamentation captures the brutal irony of Caesar's downfall. His rhetorical questions emphasize the fleeting nature of power and glory, suggesting that even the greatest of men can be abruptly brought to nothing. Antony's grief is compounded by the betrayal of Brutus, someone he naively trusted, and his words foreshadow the chaos and revenge that will follow. This scene is pivotal, as it sets the stage for Antony's cunning speech, which will incite the Roman populace against the conspirators, ultimately leading to further tragedy. Antony's sorrow is genuine, but it also marks the beginning of his strategic manipulation, highlighting his complex character and the political turmoil that awaits Rome.

ANTONY
. . .
Then burst his mighty heart,
And in his mantle muffling up his face,
Even at the base of Pompey's statue,
Which all the while ran blood, great Caesar fell.
O what a fall was there, my countrymen!
Then I, and you, and all of us fell down
Whilst bloody treason flourished over us.
. . .

In this stirring and poignant moment from Shakespeare's "Julius Caesar," Mark Antony captures the enormity of Caesar's assassination and its implications for Rome. By invoking the image of Caesar's heart bursting and his fall at the base of Pompey's statue, Antony underscores the magnitude of the betrayal. The phrase "O what a fall was there, my countrymen!" shifts focus from Caesar's personal tragedy to a broader collapse affecting all Romans, suggesting that with Caesar's death, Rome itself has suffered a significant blow. The collective "Then I, and you, and all of us fell down" emphasizes shared loss and vulnerability, as treason thrives under the guise of rectitude. Antony's rhetoric masterfully persuades his audience to question the nobility of the conspirators' motives and sets the stage for civil unrest. This speech is pivotal in transforming public sentiment and inciting action against Caesar's assassins.

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 interred 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 honourable man,
So are they all, all honourable men–
Come I to speak in Caesar's funeral.
. . .

In this pivotal moment from Shakespeare's Julius Caesar, Mark Antony addresses the crowd with masterful rhetoric. His speech ostensibly concurs with Brutus's assessment of Caesar's ambition, yet it subtly undermines the conspirators' justification for the assassination. By acknowledging that "the evil that men do lives after them," Antony suggests that negative actions outlast the memory of one's virtues, potentially fomenting discontent towards the conspirators. As Antony repeatedly refers to Brutus and the others as "honourable men," the phrase becomes increasingly ironic, casting doubt on their motives. This speech is significant because it marks the turning point of public opinion in Rome, shifting from support for Brutus to outrage over Caesar's murder, ultimately inciting the civil unrest that follows.

CASSIUS
. . .
Men at some time are masters of their fates.
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.
Brutus and Caesar. What should be in that Caesar?
Why should that name be sounded more than yours?
. . .

In this compelling moment from Julius Caesar, Cassius challenges the notion of destiny, urging Brutus to recognize their agency in shaping their own fates. By declaring "The fault, dear Brutus, is not in our stars, / But in ourselves," Cassius emphasizes personal responsibility over predetermined fate. This assertion seeks to galvanize Brutus into action, suggesting that their current status as "underlings" is a result of their own inaction, not celestial fate. Cassius cleverly questions why Caesar’s name should eclipse Brutus’s, planting seeds of doubt and ambition in Brutus's mind. This manipulation hinges on the human tendency to seek agency over one's destiny—a central theme in the play. Cassius’s rhetoric here serves as a catalyst for the ensuing conspiracy, illustrating the power of words to incite change and alter history.

CAESAR
What can be avoided
Whose end is purposed by the mighty gods?
Yet Caesar shall go forth; for these predictions
Are to the world in general, as to Caesar.
CALPHURNIA
When beggars die, there are no comets seen;
The heavens themselves blaze forth the death of princes.

In this exchange from Julius Caesar, the tension between destiny and free will is starkly portrayed. Caesar, dismissive of the ominous signs, argues that if the gods have determined an outcome, it cannot be avoided. His hubris blinds him to the specific warnings that Calphurnia implores him to heed. Her response contrasts the cosmic indifference to commoners with the dramatic celestial events marking the deaths of those in power. Calphurnia's words emphasize that the universe itself reacts to the fall of great figures, underscoring the impending doom that Caesar chooses to ignore. Her plea is not just a reflection of concern for her husband's safety but also a commentary on the weight of leadership and its impact on the natural order. This moment foreshadows the tragic events to come, highlighting Shakespeare's exploration of fate and human hubris.

Are yet two Romans living such as these?
The last of all the Romans, fare thee well!
It is impossible that ever Rome
Should breed thy fellow. Friends, I owe moe tears
To this dead man than you shall see me pay.
I shall find time, Cassius; I shall find time.
Come therefore, and to Thasos send his body.
His funerals shall not be in our camp,
Lest it discomfort us. Lucilius come,
And come young Cato, let us to the field.
Labeo and Flavius, set our battles on.
'Tis three a clock; and Romans, yet ere night
We shall try fortune in a second fight.

In this poignant moment, Brutus mourns the loss of Cassius, his fellow conspirator and friend. Despite their collective betrayal of Caesar, Brutus sees Cassius as one of the last true Romans, a man of principle and valor. His lament underscores a deep sense of loss not only for Cassius but for the noble Roman virtues that seem to be vanishing. Brutus acknowledges the debt of tears he owes, suggesting that the emotional toll of the conflict is immense, yet his stoic exterior remains. As he organizes the next battle steps, Brutus’s words reveal both his respect for the fallen and his determination to continue the fight. The farewell, "The last of all the Romans," serves as an epitaph for an era of greatness that is slipping away, leaving Brutus to face the uncertain, chaotic future alone.

BRUTUS
. . .
You must note beside,
That we have tried the utmost of our friends;
Our legions are brim-full, our cause is ripe.
The enemy increaseth every day;
We, at the height, are ready to decline.
There is a tide in the affairs of men,
Which taken at the flood leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries.
On such a full sea are we now afloat,
And we must take the current when it serves,
Or lose our ventures.

Brutus, in Shakespeare's Julius Caesar, articulates a pivotal moment, emphasizing the necessity of seizing opportunities at their peak. He likens human endeavors to the tides, suggesting that just as the sea has moments of high tide, so do men's lives. When these opportunities present themselves, they must be embraced; otherwise, one risks stagnation and regret. Brutus argues that their forces are currently at a peak, and delaying action would lead to decline as their enemies grow stronger. The metaphor underscores the urgency of acting decisively in the face of fleeting chances, highlighting a universal truth about timing and ambition. His eloquence persuades his fellow conspirators to march on Philippi, setting the stage for the impending conflict.

ANTONY
. . .
His life was gentle, and the elements
So mixed in him, that Nature might stand up,
And say to all the world, this was a man.
OCTAVIUS
According to his virtue let us use him,
With all respect, and rites of burial.
Within my tent his bones to-night shall lie,
Most like a soldier, ordered honourably.
So call the field to rest, and let's away,
To part the glories of this happy day.

In this poignant tribute, Mark Antony highlights the nobility of Brutus, the very man who played a pivotal role in Caesar's assassination. Despite Brutus's involvement in the conspiracy, Antony acknowledges his moral integrity and noble intentions, suggesting that Brutus acted not out of personal ambition but for the greater good of Rome. By declaring "this was a man," Antony elevates Brutus above the political fray, presenting him as the paragon of Roman virtue, whose actions were a blend of courage and moral conviction. Octavius’s respectful proposal for Brutus’s burial further emphasizes Brutus’s esteemed status. The acknowledgment that Brutus should lie "most like a soldier, ordered honourably" underscores his bravery and dedication, portraying him as a tragic hero caught in the tumult of Roman politics.

ANTONY
Look, in this place ran Cassius' dagger through.
See what a rent the envious Casca made.
Through this, the well-beloved Brutus stabbed,
And as he plucked his cursed steel away,
Mark how the blood of Caesar followed it,
As rushing out of doors, to be resolved
If Brutus so unkindly knocked, or no;
For Brutus, as you know, was Caesar's angel.
Judge, o you gods, how dearly Caesar loved him.
This was the most unkindest cut of all;
For when the noble Caesar saw him stab,
Ingratitude, more strong than traitor's arms,
Quite vanquished him. Then burst his mighty heart,
. . .

In "Julius Caesar," Shakespeare's portrayal of betrayal reaches its zenith in Antony's funeral oration. Antony points out the stab wounds on Caesar's body, highlighting how Brutus, once cherished by Caesar, delivered the most devastating blow. The phrase "the most unkindest cut of all" encapsulates not just physical violence but a profound emotional betrayal. Brutus was not just a senator; he was a trusted friend, almost like an "angel" to Caesar. Thus, the shock of Brutus' betrayal eclipsed even the fatal impact of the physical wound. Antony's speech manipulates the crowd, igniting their emotions by presenting Brutus' act as one of supreme ingratitude. This moment underscores the complex interplay of personal loyalty and political ambition, making it a pivotal point in the play.

ANTONY
This was the noblest Roman of them all.
All the conspirators save only he
Did that they did, in envy of great Caesar;
He only, in a general honest thought,
And common good to all, made one of them.
. . .

In Shakespeare's Julius Caesar, Mark Antony delivers this eulogy over the body of Brutus. Antony acknowledges Brutus as the "noblest Roman," a high praise for the man who led Caesar’s assassination. This statement underscores Brutus's unique purity of motive amidst the conspirators. While others acted out of envy, Brutus’s intentions were rooted in altruism and a desire for the common good. Antony recognizes that Brutus’s actions were not driven by personal gain or ambition; rather, he sincerely believed he was preserving the Republic’s values. This acknowledgment from an adversary highlights Brutus’s tragic nobility. Antony's tribute elevates Brutus above the other conspirators, framing him as an honorable figure who believed passionately in his ideals, even to the point of his own demise. Thus, Antony’s words capture the complex interplay of honor, politics, and tragedy in the play.

ANTONY
. . .
Let each man render me his bloody hand.
First Marcus Brutus, will I shake with you;
Next Caius Cassius do I take your hand;
Now Decius Brutus yours; now yours Metellus;
Yours Cinna; and my valiant Casca, yours;
Though last, not least in love, yours good Trebonius.
. . .

In this excerpt from Shakespeare's Julius Caesar, Antony cleverly navigates the fraught political landscape following Caesar's assassination. As he offers his hand to each conspirator, his words seem conciliatory. However, Antony’s true motives are far from friendly. The phrase "Though last, not least in love" signals a hidden sarcasm, implying Trebonius shares equal guilt in the conspiracy despite being mentioned last. Antony's gesture and words are a tactical maneuver designed to mask his true intentions of vengeance. This moment reveals Antony’s cunning nature, as he feigns loyalty to gain time and favor, ultimately setting the stage for his future retaliation against Caesar’s murderers. The phrase itself has since evolved into a common expression, but here, it underscores the calculated duplicity beneath Antony's facade.

CASSIUS
. . .
Why should that name be sounded more than yours?
Write them together, yours is as fair a name.
Sound them, it doth become the mouth as well.
Weigh them, it is as heavy. Conjure with 'em,
Brutus will start a spirit as soon as Caesar.
Now in the names of all the gods at once,
Upon what meat doth this our Caesar feed,
That he is grown so great? Age, thou art shamed.
Rome, thou hast lost the breed of noble bloods.
. . .

In "Julius Caesar," Cassius seeks to manipulate Brutus by questioning why Caesar is exalted above all others. Cassius argues that Caesar's name holds no more weight than Brutus's. His rhetorical questions are more than mere envy; they are a calculated attempt to ignite doubt and ambition in Brutus. Cassius insinuates that Caesar's rise is not due to extraordinary abilities but rather the folly of the people and the erosion of Rome's noble virtues. By comparing Caesar's acclaim to feeding on some mysterious sustenance, Cassius implies that Caesar's greatness is an unnatural, almost grotesque development. The speech highlights themes of power, jealousy, and the tension between public adulation and personal merit. It sets the stage for the ensuing tragedy driven by political ambition and betrayal.

CAESAR
Let me have men about me that are fat,
Sleek-headed men, and such as sleep a nights.
Yond Cassius has a lean and hungry look;
He thinks too much. Such men are dangerous.

This quote from William Shakespeare's Julius Caesar captures Caesar's wary perception of Cassius, emphasizing the latter's discontent and potential threat. In Caesar's view, men who are "fat" and "sleek-headed" are content and unlikely to pose a challenge to his authority. In contrast, Cassius's "lean and hungry look" symbolizes his ambition and dissatisfaction. This physical description parallels Cassius's inner turmoil and desire for power, making him a figure to be watched warily. Caesar's observation that "he thinks too much" underscores Cassius's introspective nature, hinting at his capacity for plotting and conspiracy. This suspicion foreshadows the pivotal role Cassius will play in the conspiracy against Caesar, highlighting his dangerous potential to disrupt the existing order. Caesar's intuitive mistrust of Cassius lays the groundwork for the ensuing political intrigue and betrayal that drive the play's dramatic tension.