CLIFFSCOMPLETE Shakespeare’s Julius Caesar Edited by Sidney Lamb Associate Professor of English Sir George Williams University, Montreal Complete Text + Commentary + Glossary Commentary by Diana Sweeney Best-Selling Books •Digital Downloads •e-Books •Answer Networks •e-Newsletters •Branded Web Sites •e-Learning New York, NY • Cleveland, OH • Indianapolis, IN CLIFFSCOMPLETE Shakespeare’s Julius Caesar About the Author Publisher’s Acknowledgments Diana Sweeney has an M.A. from The Shakespeare Institute in Stratford- Editorial upon-Avon. She has both taught and directed Shakespeare for the past fif- Project Editor: Elizabeth Netedu Kuball teen years at North Hollywood High School in Los Angeles, California. Acquisitions Editor: Gregory W. Tubach Editorial Director: Kristin A. Cocks Special Help: Michelle Hacker Production Indexer: Rebecca R. 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CLIFFSCOMPLETE Shakespeare’s Julius Caesar CONTENTS AT A GLANCE Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Act I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Act II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Act III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Act IV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Act V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 CliffsComplete Review. . . . . . . . . . . . . . . . . . . . . . . 167 CliffsComplete Resource Center. . . . . . . . . . . . . . . 173 CliffsComplete Reading Group Discussion Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 CLIFFSCOMPLETE Shakespeare’s Julius Caesar TABLE OF CONTENTS Introduction: Julius Caesar . . . . . . . . . . . . . . . . . . . . . . . 1 Introduction to William Shakespeare. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Introduction to Early Modern England . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Introduction to Julius Caesar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Character Map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Act I Scene 1 Rome, a street. . . . . . . . . . . . . . . . . . . . . . . . . . 27 Scene2 Rome, a public place. . . . . . . . . . . . . . . . . . . . . 31 Scene3 Rome, a street. . . . . . . . . . . . . . . . . . . . . . . . . . 46 ActII Scene 1 Brutus’ orchard. . . . . . . . . . . . . . . . . . . . . . . . . 57 Scene2 Caesar’s house. . . . . . . . . . . . . . . . . . . . . . . . . . 72 Scene3 A street. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Scene4 Before Brutus’ house. . . . . . . . . . . . . . . . . . . . . . 82 ActIII Scene 1 Rome, before the Capitol. . . . . . . . . . . . . . . . . . 89 Scene2 The Forum. . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Scene3 Rome, a street. . . . . . . . . . . . . . . . . . . . . . . . . 115 ActIV Scene 1 Rome, a room in Antony’s house. . . . . . . . . . . . 121 Scene2 Before Brutus’ tent near Sardis. . . . . . . . . . . . . 124 Scene3 Within Brutus’ tent. . . . . . . . . . . . . . . . . . . . . 127 ActV Scene 1 The Plain of Philippi. . . . . . . . . . . . . . . . . . . . 145 Scene2 The battlefield. . . . . . . . . . . . . . . . . . . . . . . . . 151 Scene3 The battlefield. . . . . . . . . . . . . . . . . . . . . . . . . 152 Scene4 The battlefield. . . . . . . . . . . . . . . . . . . . . . . . . 158 Scene5 The battlefield. . . . . . . . . . . . . . . . . . . . . . . . . 160 viii CliffsComplete Julius Caesar CliffsComplete Review. . . . . . . . . . . . . . . . . . . . . . . . . 167 CliffsComplete Resource Center. . . . . . . . . . . . . . . . . 173 CliffsComplete Reading Group Discussion Guide. . . 176 Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Shakespeare’s JULIUS CAESAR INTRODUCTION TO WILLIAM Anti-Stratfordians — modern scholars who SHAKESPEARE question the authorship of Shakespeare’s plays — have used this lack of information to argue that William Shakespeare, or the “Bard” as people fondly William Shakespeare either never existed or, if he did call him, permeates almost all aspects of our society. exist, did not write any of the plays we attribute to He can be found in our classrooms, on our televisions, him. They believe that another historical figure, such in our theatres, and in our cinemas. Speaking to us as Francis Bacon or Queen Elizabeth I, used the through his plays, Shakespeare comments on his life name as a cover. Whether a man named William and culture, as well as our own. Actors still regularly Shakespeare ever actually existed is ultimately sec- perform his plays on the modern stage and screen. The ondary to the recognition that the group of plays 1990s, for example, saw the release of cinematic ver- bound together by that name does exist and contin- sions of Romeo and Juliet,Hamlet, Othello, A Mid- ues to educate, enlighten, and entertain us. summer Night’s Dream, and many more of his works. In addition to the popularity of Shakespeare’s plays as he wrote them, other writers have modern- ized his works to attract new audiences. For example, West Side Storyplaces Romeo and Julietin New York City, and A Thousand Acres sets King Lear in Iowa corn country. Beyond adaptations and productions, his life and works have captured our cultural imagi- nation. The twentieth century witnessed the pro- duction of a play about two minor characters from Shakespeare’s Hamletin Rosencrantz and Guildenstern are Dead and a fictional movie about Shakespeare’s early life and poetic inspiration in Shakespeare in Love. Despite his monumental presence in our culture, Shakespeare remains enigmatic. He does not tell us which plays he wrote alone, on which plays he col- laborated with other playwrights, or which versions of his plays to read and perform. Furthermore, with only a handful of documents available about his life, he does not tell us much about Shakespeare the per- son, forcing critics and scholars to look to historical An engraved portrait of Shakespeare by an unknown artist, ca. 1607. references to uncover the true-life great dramatist. Culver Pictures, Inc./SuperStock