Within the Tent of Brutus: Enter the Ghost of Caesar, Julius Caesar, Act IV, Scene III, Edwin Austin Abbey (1905)
The Tragedy of Julius Caesar (First Folio title: The Tragedie of Ivlivs Cæsar), often abbreviated as Julius Caesar, is a history play and tragedy by William Shakespeare first performed in 1599.
In the play, Brutus joins a conspiracy led by Cassius to assassinate Julius Caesar, to prevent him from becoming a tyrant. Caesar's right-hand man Antony stirs up hostility against the conspirators and Rome becomes embroiled in a dramatic civil war.
The play opens with two tribunes (appointed leaders/officials of Rome) discovering the commoners of Rome celebrating Julius Caesar's triumphant return from defeating the sons of his military rival, Pompey. The tribunes, insulting the crowd for their change in loyalty from Pompey to Caesar, attempt to end the festivities and break up the commoners, who return the insults. During the feast of Lupercal, Caesar holds a victory parade and a soothsayer warns him to "Beware the ides of March," which he ignores. Meanwhile, Cassius attempts to convince Brutus to join his conspiracy to kill Caesar. Although Brutus, friendly towards Caesar, is hesitant to kill him, he agrees that Caesar may be abusing his power. They then hear from Casca that Mark Antony has offered Caesar the crown of Rome three times. Casca tells them that each time Caesar refused it with increasing reluctance, hoping that the crowd watching would insist that he accept the crown. He describes how the crowd applauded Caesar for denying the crown, and how this upset Caesar. On the eve of the ides of March, the conspirators meet and reveal that they have forged letters of support from the Roman people to tempt Brutus into joining. Brutus reads the letters and, after much moral debate, decides to join the conspiracy, thinking that Caesar should be killed to prevent him from doing anything against the people of Rome if he were ever to be crowned.
"Julius Caesar", Act III, Scene 2, the Murder Scene, George Clint (1822)
After ignoring the soothsayer, as well as his wife Calpurnia's own premonitions, Caesar goes to the Senate. The conspirators approach him with a fake petition pleading on behalf of Metellus Cimber's banished brother. As Caesar predictably rejects the petition, Casca and the others suddenly stab him; Brutus is last. At this point, Caesar utters the famous line "Et tu, Brute?"[2] ("And you, Brutus?", i.e. "You too, Brutus?"), concluding with "Then fall, Caesar!"
The conspirators make clear that they committed this killing for the good of Rome, to prevent an autocrat. They prove this by not attempting to flee the scene. Brutus delivers an oration defending his actions, and for the moment, the crowd is on his side. However, Antony makes a subtle and eloquent speech over Caesar's corpse, beginning with the much-quoted "Friends, Romans, countrymen, lend me your ears!"[3] In this way, he deftly turns public opinion against the assassins by manipulating the emotions of the common people, in contrast to the rational tone of Brutus's speech, yet there is a method in his rhetorical speech and gestures: he reminds them of the good Caesar had done for Rome, his sympathy with the poor, and his refusal of the crown at the Lupercal, thus questioning Brutus's claim of Caesar's ambition; he shows Caesar's bloody, lifeless body to the crowd to have them shed tears and gain sympathy for their fallen hero; and he reads Caesar's will, in which every Roman citizen would receive 75 drachmas. Antony, even as he states his intentions against it, rouses the mob to drive the conspirators from Rome. Amid the violence, an innocent poet, Cinna, is confused with the conspirator Lucius Cinna and is taken by the mob, which kills him for such "offenses" as his bad verses.
Brutus next attacks Cassius for supposedly soiling the noble act of regicide by having accepted bribes. ("Did not great Julius bleed for justice' sake? / What villain touched his body, that did stab, / And not for justice?"[4]) The two are reconciled, especially after Brutus reveals that his beloved wife committed suicide under the stress of his absence from Rome; they prepare for a civil war against Antony and Caesar's adopted son, Octavius, who have formed a triumvirate in Rome with Lepidus. That night, Caesar's ghost appears to Brutus with a warning of defeat. (He informs Brutus, "Thou shalt see me at Philippi."[5])
The ghost of Caesar taunts Brutus about his imminent defeat. (Copperplate engraving by Edward Scriven from a painting by Richard Westall: London, 1802.)
At the battle, Cassius and Brutus, knowing that they will probably both die, smile their last smiles to each other and hold hands. During the battle, Cassius has his servant kill him after hearing of the capture of his best friend, Titinius. After Titinius, who was not captured, sees Cassius's corpse, he commits suicide. However, Brutus wins that stage of the battle, but his victory is not conclusive. With a heavy heart, Brutus battles again the next day. He asks his friends to kill him, but the friends refuse. He loses and commits suicide by running on his sword, held for him by a loyal soldier.
Henry Fuseli, The Death of Brutus, a charcoal drawing with white chalk (c.1785)
The play ends with a tribute to Brutus by Antony, who proclaims that Brutus has remained "the noblest Roman of them all"[6] because he was the only conspirator who acted, in his mind, for the good of Rome. There is then a small hint at the friction between Antony and Octavius which characterizes another of Shakespeare's Roman plays, Antony and Cleopatra.
Shakespeare makes Caesar's triumph take place on the day of Lupercalia (15 February) instead of six months earlier.
For dramatic effect, he makes the Capitol the venue of Caesar's death rather than the Curia Pompeia (Curia of Pompey).
Caesar's murder, the funeral, Antony's oration, the reading of the will, and the arrival of Octavius all take place on the same day in the play. However, historically, the assassination took place on 15 March (The Ides of March), the will was published on 18 March, the funeral was on 20 March, and Octavius arrived only in May.
Shakespeare makes the Triumvirs meet in Rome instead of near Bononia to avoid an additional locale.
He combines the two Battles of Philippi although there was a 20-day interval between them.
Shakespeare has Caesar say Et tu, Brute? ("And you, Brutus?") before he dies. Plutarch and Suetonius each report that he said nothing, with Plutarch adding that he pulled his toga over his head when he saw Brutus among the conspirators,[9] though Suetonius does record other reports that Caesar said in Latin, "Ista quidem est vis (This is violence.)[10][11] The Latin words Et tu, Brute?, however, were not devised by Shakespeare for this play since they are attributed to Caesar in earlier Elizabethan works and had become conventional by 1599.
Shakespeare deviated from these historical facts to curtail time and compress the facts so that the play could be staged more easily. The tragic force is condensed into a few scenes for heightened effect.
Date and text
The first page of Julius Caesar, printed in the Second Folio of 1632
Julius Caesar was originally published in the First Folio of 1623, but a performance was mentioned by Thomas Platter the Younger in his diary in September 1599. The play is not mentioned in the list of Shakespeare's plays published by Francis Meres in 1598. Based on these two points, as well as several contemporary allusions, and the belief that the play is similar to Hamlet in vocabulary, and to Henry V and As You Like It in metre,[12] scholars have suggested 1599 as a probable date.[13]
The text of Julius Caesar in the First Folio is the only authoritative text for the play. The Folio text is notable for its quality and consistency; scholars judge it to have been set into type from a theatrical prompt-book.[14]
The play contains many anachronistic elements from the Elizabethan era. The characters mention objects such as doublets (large, heavy jackets) – which did not exist in ancient Rome. Caesar is mentioned to be wearing an Elizabethan doublet instead of a Roman toga. At one point a clock is heard to strike and Brutus notes it with "Count the clock".
Analysis and criticism
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Historical background
Maria Wyke has written that the play reflects the general anxiety of Elizabethan England over a succession of leadership. At the time of its creation and first performance, Queen Elizabeth, a strong ruler, was elderly and had refused to name a successor, leading to worries that a civil war similar to that of Rome might break out after her death.[15]
Protagonist debate
A late 19th-century painting of Act IV, Scene iii: Brutus sees Caesar's ghost.
Critics of Shakespeare's play Julius Caesar differ greatly in their views of Caesar and Brutus. Many have debated whether Caesar or Brutus is the protagonist of the play because the title character dies in Act Three, Scene One. But Caesar compares himself to the Northern Star, and perhaps it would be foolish not to consider him as the axial character of the play, around whom the entire story turns. Intertwined in this debate is a smattering of philosophical and psychological ideologies on republicanism and monarchism. One author, Robert C. Reynolds, devotes attention to the names or epithets given to both Brutus and Caesar in his essay "Ironic Epithet in Julius Caesar". He points out that Casca praises Brutus at face value, but then inadvertently compares him to a disreputable joke of a man by calling him an alchemist, "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 worthiness" (I.iii.158–160). Reynolds also talks about Caesar and his "Colossus" epithet, which he points out has obvious connotations of power and manliness, but also lesser-known connotations of an outward glorious front and inward chaos.[16]
Myron Taylor, in his essay "Shakespeare's Julius Caesar and the Irony of History", compares the logic and philosophies of Caesar and Brutus. Caesar is deemed an intuitive philosopher who is always right when he goes with his instinct; for instance, when he says he fears Cassius as a threat to him before he is killed, his intuition is correct. Brutus is portrayed as a man similar to Caesar, but whose passions lead him to the wrong reasoning, which he realizes in the end when he says in V.v.50–51, "Caesar, now be still:/ I killed not thee with half so good a will".[17]
Joseph W. Houppert acknowledges that some critics have tried to cast Caesar as the protagonist, but that ultimately Brutus is the driving force in the play and is therefore the tragic hero. Brutus attempts to put the republic over his relationship with Caesar and kills him. Brutus makes the political mistakes that bring down the republic that his ancestors created. He acts on his passions, does not gather enough evidence to make reasonable decisions, and is manipulated by Cassius and the other conspirators.[18]
Traditional readings of the play may maintain that Cassius and the other conspirators are motivated largely by envy and ambition, whereas Brutus is motivated by the demands of honor and patriotism. Certainly, this is the view that Antony expresses in the final scene. But one of the central strengths of the play is that it resists categorizing its characters as either simple heroes or villains. The political journalist and classicistGarry Wills maintains that "This play is distinctive because it has no villains".[19]
It is a drama famous for the difficulty of deciding which role to emphasize. The characters rotate around each other like the plates of a Calder mobile. Touch one and it affects the position of all the others. Raise one, and another sink. But they keep coming back into a precarious balance.[20]
Performance history
The play was probably one of Shakespeare's first to be performed at the Globe Theatre.[21]Thomas Platter the Younger, a Swiss traveler, saw a tragedy about Julius Caesar at a Bankside theatre on 21 September 1599, and this was most likely Shakespeare's play, as there is no obvious alternative candidate. (While the story of Julius Caesar was dramatized repeatedly in the Elizabethan/Jacobean period, none of the other plays known is as good a match with Platter's description as Shakespeare's play.)[22]
After the theatres re-opened at the start of the Restoration era, the play was revived by Thomas Killigrew's King's Company in 1672. Charles Hart initially played Brutus, as did Thomas Betterton in later productions. Julius Caesar was one of the very few Shakespeare plays that was not adapted during the Restoration period or the eighteenth century.[23]
1864: Junius Jr., Edwin and John Wilkes Booth (later the assassin of U.S. President Abraham Lincoln) made the only appearance onstage together in a benefit performance of Julius Caesar on 25 November 1864, at the Winter Garden Theater in New York City. Junius Jr. played Cassius, Edwin played Brutus and John Wilkes played Mark Antony. This landmark production raised funds to erect a statue of Shakespeare in Central Park, which remains to this day.
29 May 1916: A one-night performance in the natural bowl of Beachwood Canyon, Hollywood drew an audience of 40,000 and starred Tyrone Power Sr. and Douglas Fairbanks Sr. The student bodies of Hollywood and Fairfax High Schools played opposing armies, and the elaborate battle scenes were performed on a huge stage as well as the surrounding hillsides. The play commemorated the tercentenary of Shakespeare's death. A photograph of the elaborate stage and viewing stands can be seen on the Library of Congress website. The performance was lauded by L. Frank Baum.[24]
1926: Another elaborate performance of the play was staged as a benefit for the Actors Fund of America at the Hollywood Bowl. Caesar arrived for the Lupercal in a chariot drawn by four white horses. The stage was the size of a city block and dominated by a central tower eighty feet in height. The event was mainly aimed at creating work for unemployed actors. Three hundred gladiators appeared in an arena scene not featured in Shakespeare's play; a similar number of girls danced as Caesar's captives; a total of three thousand soldiers took part in the battle sequences.
1937: Caesar, Orson Welles's famous Mercury Theatre production, drew fevered comment as the director dressed his protagonists in uniforms reminiscent of those common at the time in Fascist Italy and Nazi Germany, drawing a specific analogy between Caesar and Fascist Italian leader Benito Mussolini. Time magazine gave the production a rave review,[25] together with the New York critics.[26]:313–319 The fulcrum of the show was the slaughter of Cinna the Poet (Norman Lloyd), a scene that stopped the show.[27]Caesar opened at the Mercury Theatre in New York City in November 1937[28]:339 and moved to the larger National Theater in January 1938,[28]:341 running a total of 157 performances.[29] A second company made a five-month national tour with Caesar in 1938, again to critical acclaim.[30]:357
1994: Arvind Gaur directed the play in India with Jaimini Kumar as Brutus and Deepak Ochani as Caesar (24 shows); later on he revived it with Manu Rishi as Caesar and Vishnu Prasad as Brutus for the Shakespeare Drama Festival, Assam in 1998. Arvind Kumar translated Julius Caesar into Hindi. This production was also performed at the Prithvi international theatre festival, at the India Habitat Centre, New Delhi.
2005: Denzel Washington played Brutus in the first Broadway production of the play in over fifty years. The production received universally negative reviews but was a sell-out because of Washington's popularity at the box office.[31]
One of the earliest cultural references to the play came in Shakespeare's own Hamlet. Prince Hamlet asks Polonius about his career as a thespian at university, and Polonius replies: "I did enact Julius Caesar. I was killed in the Capitol. Brutus killed me." This is a likely meta-reference, as Richard Burbage is generally accepted to have played leading men Brutus and Hamlet, and the older John Heminges to have played Caesar and Polonius.
The Canadian comedy duo Wayne and Shuster parodied Julius Caesar in their 1958 sketch Rinse the Blood off My Toga. Flavius Maximus, Private Roman Eye, is hired by Brutus to investigate the death of Caesar. The police procedural combines Shakespeare, Dragnet, and vaudeville jokes and was first broadcast on The Ed Sullivan Show.[33]
In 1984, the Riverside Shakespeare Company of New York City produced a modern dress Julius Caesar set in contemporary Washington, called simply CAESAR!, starring Harold Scott as Brutus, Herman Petras as Caesar, Marya Lowry as Portia, Robert Walsh as Antony, and Michael Cook as Cassius, directed by W. Stuart McDowell at The Shakespeare Center.[34]
In 2006, Chris Taylor from the Australian comedy team The Chaser wrote a comedy musical called Dead Caesar which was shown at the Sydney Theatre Company in Sydney.
The line "The Evil That Men Do", from the speech made by Mark Antony following Caesar's death ("The evil that men do lives after them; The good is oft interred with their bones.") has had many references in media, including the titles of:
In the Ray Bradbury book Fahrenheit 451, some of the character Beatty's last words are "There is no terror, Cassius, in your threats, for I am armed so strong in honesty that they pass me as an idle wind, which I respect not!"
The line "And therefore think him as a serpent's egg / Which hatched, would, as his kind grow mischievous; And kill him in the shell" spoken by Brutus in Act II, Scene 1, is referenced in the Dead Kennedys song "California über alles".
The title of Agatha Christie novel Taken at the Flood, titled There Is a Tide in its American edition, refers to an iconic line of Brutus: "There is a tide in the affairs of men, which, taken at the flood, leads on to fortune." (Act IV, Scene III).
Heil Caesar (BBC, 1973), a three-part television play written by John Griffith Bowen that was "a modern-dress modern-dialogue rewrite of the play, updated to an unnamed present-day regime that's about to switch from democracy to dictatorship unless Brutus and his conspirators act to prevent it." It was intended as an introduction to Shakespeare's play for schoolchildren, but it proved good enough to be shown on adult television, and a stage version was later produced.[39] The British Universities Film & Video Council database states that the work "transforms the play into a modern political conspiracy thriller with modern dialogue and many strong allusions to political events in the early 1970."[40]
Julius Caesar (2010), is a short film starring Randy Harrison as Brutus and John Shea as Julius Caesar. Directed by Patrick J Donnelly and produced by Dan O'Hare.[41]
Caesar Must Die (2012), is an Italian film about a group of prison inmates rehearsing a play. Ultimately, the prison life and the play become indistinguishable and Mark Antony's Friends, Romans... speech is delivered in a prison courtyard with hundreds of prisoners peeking from their cell windows taking the role of Roman citizens. While the film is fictional, the actors are actual prison inmates playing themselves.[42]
Marcus Junius Brutus was a Roman politician, orator, and the most famous of the assassins of Julius Caesar. After being adopted by a relative, he used the name Quintus Servilius Caepio Brutus, which was retained as his legal name. He is often referred to simply as Brutus.
Gaius Cassius Longinus was a Roman senator and general best known as a leading instigator of the plot to assassinate Julius Caesar on 15 March 44 BC. He was the brother-in-law of Brutus, another leader of the conspiracy. He commanded troops with Brutus during the Battle of Philippi against the combined forces of Mark Antony and Octavian, Caesar's former supporters, and committed suicide after being defeated by Mark Antony.
Decimus Junius Brutus Albinus was a Roman general and politician of the late republican period and one of the leading instigators of Julius Caesar's assassination. He had previously been an important supporter of Caesar in the Gallic Wars and in the civil war against Pompey. Decimus Brutus is often confused with his distant cousin and fellow conspirator, Marcus Junius Brutus.
Publius Servilius Casca Longus was one of the assassins of Julius Caesar. He and several other senators conspired to kill him, a plan which they carried out on 15 March, 44 BC. Afterwards, Casca fought with the liberators during the Liberators' civil war. He is believed to have died by suicide after their defeat at the Battle of Philippi in 42 BC.
The Mercury Theatre was an independent repertory theatre company founded in New York City in 1937 by Orson Welles and producer John Houseman. The company produced theatrical presentations, radio programs and motion pictures. The Mercury also released promptbooks and phonographic recordings of four Shakespeare works for use in schools.
Gaius Helvius Cinna was an influential neoteric poet of the late Roman Republic, a little older than the generation of Catullus and Calvus. He was lynched at the funeral of Julius Caesar after being mistaken for an unrelated Cornelius Cinna who had spoken out in support of the dictator's assassins.
Et tu, Brute? is a Latin phrase literally meaning "and you, Brutus?" or "also you, Brutus?", often translated as "You as well, Brutus?", "You too, Brutus?", or "Even you, Brutus?". The quote appears in Act 3 Scene 1 of William Shakespeare's play Julius Caesar, where it is spoken by the Roman dictator Julius Caesar, at the moment of his assassination, to his friend Marcus Junius Brutus, upon recognizing him as one of the assassins. The first known occurrences of the phrase are said to be in two earlier Elizabethan plays; Henry VI, Part 3 by Shakespeare, and an even earlier play, Caesar Interfectus, by Richard Edes. The phrase is often used apart from the plays to signify an unexpected betrayal by a friend.
Julius Caesar is a 1953 American film adaptation of the Shakespearean play, directed by Joseph L. Mankiewicz and produced by John Houseman for Metro-Goldwyn-Mayer. It stars Marlon Brando as Mark Antony, James Mason as Brutus, John Gielgud as Cassius, Louis Calhern as Caesar, Edmond O'Brien as Casca, Greer Garson as Calpurnia, and Deborah Kerr as Portia.
Lucius Tillius Cimber was a Roman senator. He was one of the assassins of Julius Caesar, creating the diversion that enabled the conspirators to attack.
Empire is an American historical television series for ABC. It is an historical drama set in 44 BC Rome, and covers the struggle of a young Octavius, the nephew and heir of Julius Caesar, to become the first emperor of Rome. Octavius is helped in his quest by a fictitious gladiator called Tyrannus.
Imperium: Augustus is a 2003 joint British-Italian production, and part of the Imperium series. It tells of the life story of Octavian and how he became Augustus. Half the film takes place in the past and the other half takes place in the later life of Augustus.
Cleopatra is a 1999 miniseries adaptation of Margaret George's 1997 historical fiction novel The Memoirs of Cleopatra. Produced by Hallmark Entertainment, it stars Leonor Varela as the Egyptian queen Cleopatra, Timothy Dalton as Julius Caesar, Billy Zane as Mark Antony, Rupert Graves as Octavius, Sean Pertwee as Brutus and Bruce Payne as Cassius. Cleopatra was shown first on the ABC television network in two parts on two consecutive evenings in May 1999 and then released on videotape and DVD. Judy Farr, Martin Hitchcock and Frank Walsh were nominated for an Emmy in 1999 for outstanding art direction for a miniseries or a movie for their work on Cleopatra.
Julius Caesar is a 1970 film adaptation of William Shakespeare's play of the same name, directed by Stuart Burge. It stars Charlton Heston as Mark Antony, Jason Robards as Brutus, Richard Johnson as Cassius, John Gielgud as Caesar, Robert Vaughn as Casca, Richard Chamberlain as Octavius, and Diana Rigg as Portia. It was an independent production of Commonwealth United Entertainment, filmed in England and Spain. It is the first film version of the play made in colour.
"Friends, Romans, countrymen, lend me your ears" is the first line of a speech by Mark Antony in the play Julius Caesar, by William Shakespeare. Occurring in Act III, scene II, it is one of the most famous lines in all of Shakespeare's works.
Die Ermordung Cäsars, Op. 32, is an opera in one act by Giselher Klebe who also wrote the libretto based on the translation by August Wilhelm von Schlegel of Shakespeare's play Julius Caesar.
Julius Caesar, the Roman dictator, was assassinated by a group of senators on the Ides of March of 44 BC during a meeting of the Senate at the Curia of Pompey of the Theatre of Pompey in Rome where the senators stabbed Caesar 23 times. They claimed to be acting over fears that Caesar's unprecedented concentration of power during his dictatorship was undermining the Roman Republic. At least 60 to 70 senators were party to the conspiracy, led by Marcus Junius Brutus, Gaius Cassius Longinus, and Decimus Junius Brutus Albinus. Despite the death of Caesar, the conspirators were unable to restore the institutions of the Republic. The ramifications of the assassination led to the Liberators' civil war and ultimately to the Principate period of the Roman Empire.
Caesar is the title of Orson Welles's innovative 1937 adaptation of William Shakespeare's Julius Caesar, a modern-dress bare-stage production that evoked comparison to contemporary Fascist Italy and Nazi Germany. Considered Welles's highest achievement in the theatre, it premiered November 11, 1937, as the first production of the Mercury Theatre, an independent repertory theatre company that presented an acclaimed series of productions on Broadway through 1941.
The Spread of the Eagle is a nine-part serial adaptation of three sequential history plays of William Shakespeare, Coriolanus, Julius Caesar, and Antony and Cleopatra, produced by the BBC in 1963. It was inspired by the success of An Age of Kings (1960), which it was unable to rival. The episodes also aired in West Germany in 1968-69 and in 1972.
The last words of the Roman dictator Julius Caesar are disputed. Ancient chroniclers reported a variety of phrases and post-classical writers have elaborated on the phrases and their interpretation. The two most common theories – prevalent as early as the second century AD – are that he said nothing or that he said, in Greek, καὶ σύ, τέκνον.
Heil Caesar is a 1973 BBC television drama. It was an adaptation by John Bowen of Shakespeare's play Julius Caesar which was produced by Ronald Smedley. The production designer was Humphrey Jaeger. The adaptation is listed as one of Bowen's achievements in his obituary in The Guardian newspaper It was originally made in three parts for use with schools and colleges but it was shown again a year later on BBC 2 on 21 October 1974 in a single 90 minute slot. In 1975, the BBC made a further introductory programme for schools to add to the original three episodes which examined the series in more detail for schools and which included comments from the original cast.
References
Citations
↑ Named in Parallel Lives and quoted in Spevack, Marvin (2004). Julius Caesar. New Cambridge Shakespeare (2ed.). Cambridge, England: Cambridge University Press. p.74. ISBN978-0-521-53513-7.
↑ Richard Edes's Latin play Caesar Interfectus (1582?) would not qualify. The Admiral's Men had an anonymous Caesar and Pompey in their repertory in 1594–95, and another play, Caesar's Fall, or the Two Shapes, written by Thomas Dekker, Michael Drayton, Thomas Middleton, Anthony Munday, and John Webster, in 1601–02, too late for Platter's reference. Neither play has survived. The anonymous Caesar's Revenge dates to 1606, while George Chapman's Caesar and Pompey date from ca. 1613. E. K. Chambers, Elizabethan Stage, Vol. 2, p. 179; Vol. 3, pp. 259, 309; Vol. 4, p. 4.
↑ Grove's Dictionary of Music and Musicians, 5th edition, ed. Eric Blom, Vol. VII, p. 733
↑ "Rinse the Blood Off My Toga". Canadian Adaptations of Shakespeare Project at the University of Guelph. Archived from the original on 26 June 2019. Retrieved 13 March 2010.
↑ Herbert Mitgang of The New York Times, 14 March 1984, wrote: "The famous Mercury Theater production of Julius Caesar in modern dress staged by Orson Welles in 1937 was designed to make audiences think of Mussolini's Blackshirts – and it did. The Riverside Shakespeare Company's lively production makes you think of timeless ambition and antilibertarians anywhere."
↑ Maria Wyke, Caesar in the USA (University of California Press, 2012), p. 60.
1 2 3 4 Shakespeare and the Moving Image: The Plays on Film and Television (eds. Anthony Davies & Stanley Wells: Cambridge University Press, 1994), pp. 29–31.
↑ Darryll Grantley, Historical Dictionary of British Theatre: Early Period (Scarecrow Press, 2013), p. 228.
↑ Stephen Chibnall & Brian McFarlane, The British 'B' Film (Palgrave Macmillan/British Film Institute, 2009), p. 252.
Houppert, Joseph W. "Fatal Logic in 'Julius Caesar'". South Atlantic Bulletin. Vol. 39, No.4. Nov. 1974. 3–9.
Kahn, Coppelia. "Passions of some difference": Friendship and Emulation in Julius Caesar. Julius Caesar: New Critical Essays. Horst Zander, ed. New York: Routledge, 2005. 271–283.
Parker, Barbara L. "The Whore of Babylon and Shakespeares's Julius Caesar." Studies in English Literature (Rice); Spring95, Vol. 35 Issue 2, p.251, 19p.
Reynolds, Robert C. "Ironic Epithet in Julius Caesar". Shakespeare Quarterly. Vol. 24. No.3. 1973. 329–333.
Taylor, Myron. "Shakespeare's Julius Caesar and the Irony of History". Shakespeare Quarterly. Vol. 24, No. 3. 1973. 301–308.
Text of Julius Caesar, fully edited by John Cox, as well as original-spelling text, facsimiles of the 1623 Folio text, and other resources, at the Internet Shakespeare Editions
Julius Caesar Navigator Includes Shakespeare's text with notes, line numbers, and a search function.
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