Themes: Public and Private Selves
An interesting segue into the theme of public and private selves in Julius Caesar is through exploring notions of femininity and masculinity. Fear is often described as “womanish,” while the posturing of valor is described as manly. Similarly, various characters set up dichotomies between controlled and emotional, and strong and weak, among other binaries. For the male characters, this dichotomy also finds a parallel in public and private selves. For instance, Caesar is often described as “superstitious,” a quality considered cowardly and therefore feminine. This assessment of Caesar as superstitious is not off the mark, as can be seen in act 2, when he asks the priests to read the entrails of a sacrifice and tell his fortune. However, his public self cannot accommodate this weakness, which is why he publicly shuns the soothsayer who warns him about the Ides of March and rejects the entreaties of Artemidorus. Significantly, suppressing his private (feminine) self is what seals Caesar’s fate. The weight of his image begins to crush him, as he now has to live up to his own legend. Tellingly, he increasingly begins to refer to himself in the third person, the Caesar-self too ponderous for “I” to accommodate. From statements like “I rather tell thee what is to be feared / Than what I fear, for always I am Caesar” (act 1, scene 2), Caesar moves to
. . . Danger knows full well
That Caesar is more dangerous than he.
We are two lions littered in one day,
And I the elder and more terrible.
And Caesar shall go forth. (act 2, scene 2)
The fissure between Caesar’s private and public selves also proves his weakness, which his foes exploit. For instance, Decius Brutus deliberately taunts Caesar with the danger of being perceived as cowardly if he stays home on his wife’s exhortation. Decius knows that Caesar—who is prone to epileptic seizures and physically not very strong—is prickly about projecting an unassailable, masculine self and bound to take his bait. Thus, Caesar sacrifices his private self for his public self, which, of course, means he is left with no self at all.
Antony uses the dichotomy between public and private more effectively. He publicly dissembles before the conspirators, only to privately curse them before Caesar’s corpse. Publicly, he promises Romans Caesar’s will, and privately he withdraws the promise. Yet Antony is not the tragic hero of the play; that is Brutus. It should be noted that not only are Brutus’s public and private selves closely aligned, but that closeness itself constitutes his dramatic flaw. Because Brutus’s own selves are aligned, he loses the ability to sense duality in others, becoming a target for their manipulation, be it from Cassius or Antony. Thus, the play does not offer a neat resolution to the problem of warring selves. Brutus’s consistency is perhaps desirable, at least earning him a great reputation. However, the realistic, cynical world of the play cannot allow him any more than a noble name.
Expert Q&A
Why is Cinna the Poet killed in act 3 of Julius Caesar? What does this say about the Roman public?
Cinna the Poet is killed in act 3 of Julius Caesar because the crowd mistakes him for Cinna the conspirator, reflecting the Roman public's frenzied and irrational state. Stirred up by Mark Antony's speech, the mob becomes bloodthirsty and indiscriminate, eager to kill anyone associated with the conspirators, demonstrating their susceptibility to manipulation and their chaotic nature.
What does the quote, "I love Caesar but I love Rome more," mean?
The quote "I love Caesar but I love Rome more" means that Brutus values the well-being of Rome and its citizens above his personal affection for Caesar. Brutus uses this justification to explain his participation in Caesar's assassination, emphasizing his belief that Caesar's death was necessary to protect the Roman Republic from tyranny and preserve its democratic values.
How would you interpret Casca's quote in Julius Caesar?
"Oh, he sits high in all the people’s hearts,
And that which would appear offense in us,
His countenance, like richest alchemy,
Will change to virtue and to worthiness."
Casca's quote highlights the conspirators' need to recruit Brutus due to his esteemed reputation among the Roman people. Casca notes that Brutus's actions are perceived as virtuous regardless of their true nature, likening his influence to "richest alchemy" that transforms potential offenses into virtues. This perception will lend legitimacy to the conspirators' cause, making it crucial for them to secure Brutus's support to sway public opinion after Caesar's assassination.
How do the Romans react to Antony's speech and Julius Caesar's death? What do they believe were the conspirators' motives?
Following Julius Caesar's assassination, the Romans are initially swayed by Brutus's argument that Caesar was ambitious and a threat to Rome. However, Marc Antony's speech effectively turns public opinion by casting doubt on Brutus's motives and highlighting Caesar's generosity. Antony's rhetorical skills lead the Romans to suspect that the conspirators acted out of envy and a desire for power, inciting them to riot and seek revenge for Caesar's death, sparking civil unrest.
How does T. S. Eliot's quote, "Between the idea and the reality ... Falls the Shadow," apply to Brutus in Julius Caesar?
T. S. Eliot's quote "Between the idea and the reality ... Falls the Shadow" applies to Brutus in Julius Caesar by highlighting the disparity between Brutus's idealistic intentions and the grim reality of his actions. Though Brutus aimed to protect democracy by assassinating Caesar, his decisions, influenced by guilt and misjudgment, ultimately led to civil war, poor military outcomes, and the rise of Antony, which contradicted his original goals.
Why is the mob's fluctuating extremes important in Julius Caesar?
The mob's fluctuating extremes in Julius Caesar highlight their lack of independent thought and susceptibility to persuasion. Initially, Brutus convinces them that Caesar's assassination was justified, but Antony quickly sways them to mourn Caesar, showing the crowd's emotional instability. This behavior underscores Shakespeare's understanding of human nature and the ease with which charismatic leaders can manipulate the masses.
Why does Portia inflict a "voluntary wound" upon herself in The Tragedy of Julius Caesar?
Portia inflicts a "voluntary wound" upon herself to demonstrate her strength and resilience, aiming to prove to her husband, Brutus, that she is capable of handling the same burdens he faces. By doing so, she seeks to be included in the secrets he keeps, challenging the period's perception of women as weak. Despite her efforts, she ultimately succumbs to the pressures, paralleling the fate of the men involved.
In Act 1 of Julius Caesar, how do the moods and loyalties of the Roman mob compare to other groups?
In Act 1 of Julius Caesar, the Roman mob's moods and loyalties are depicted as fickle. Initially, they celebrate Caesar's victory over Pompey, despite having previously cheered for Pompey with equal fervor. Marullus and Flavius criticize the crowd for their quick shift in loyalty, highlighting their tendency to support whoever is in power, a trait Antony later exploits after Caesar's assassination.
How is the public and private conflict portrayed in Shakespeare's Julius Caesar?
What does Shakespeare intend when he suggests in lines 111-118 of scene 1 that the conspirators' deed will be "acted over" many ages hence?
Shakespeare suggests that the conspirators' act will be "acted over" to highlight its ritualistic significance and enduring impact. The conspirators, through symbolic gestures like bathing in Caesar's blood, aim to present their deed as a liberation act, leaving a lasting impression on Romans. This scene also reflects the senators' narcissism, particularly Cassius's desire for fame. The quote is self-aware, acknowledging that the scene is literally performed globally, as intended by Shakespeare.
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