2 WILLIAM SHAKESPEARE: Julius Caesar Answer one essay question (a) or (b), and the passage-based question (c). Remember to support your ideas with relevant details from the text. Either (a) How does Shakespeare make Calphurnia and Portia such dramatically compelling characters? or (b) Brutus says that the conspiracy should hide behind smiles and affability. Explore two moments from the play that show vividly the power of manipulation and deception. And (c) Read this passage carefully, and then answer the questions that follow it: CAESAR The ides of March are come. SOOTHSAYER Aye, Caesar, but not gone. ARTEMIDORUS Hail, Caesar! Read this schedule. DECIUS Trebonius doth desire you to o er-read, At your best leisure, this his humble suit. 5 ARTEMIDORUS O Caesar, read mine first; for mine s a suit That touches Caesar nearer. Read it, great Caesar. CAESAR What touches us ourself shall be last served. ARTEMIDORUS Delay not, Caesar, read it instantly. CAESAR What, is the fellow mad? 10 PUBLIUS Sirrah, give place. CASSIUS What, urge you your petitions in the street? Come to the Capitol. CAESAR and the rest enter the Senate POPILIUS I wish your enterprise today may thrive. 15 CASSIUS What enterprise, Popilius? POPILIUS Fare you well. BRUTUS What said Popilius Lena? CASSIUS He wished today our enterprise might thrive. I fear our purpose is discovered. 20 BRUTUS Look how he makes to Caesar. Mark him. CASSIUS Casca, be sudden, for we fear prevention. Brutus, what shall be done? If this be known, Cassius or Caesar never shall turn back, For I will slay myself. 25
BRUTUS Cassius, be constant. Popilius Lena speaks not of our purposes, For look, he smiles, and Caesar doth not change. CASSIUS Trebonius knows his time; for look you, Brutus, He draws Mark Antony out of the way. 30 Exeunt ANTONY and TREBONIUS CAESAR and the Senators take their seats DECIUS Where is Metellus Cimber? Let him go, And presently prefer his suit to Caesar. BRUTUS He is addressed; press near and second him. 35 CINNA Casca, you are the first that rears your hand. CAESAR Are we all ready? What is now amiss That Caesar and his senate must redress? METELLUS Most high, most mighty, and most puissant Caesar, Metellus Cimber throws before thy seat 40 An humble heart Kneeling 3 (i) How does Shakespeare make this passage so dramatically effective? (ii) By referring closely to one earlier moment, do you consider Brutus involvement in the conspiracy honourable? Support your answer by referring closely to the text.
4 BLANK PAGE Copyright Acknowledgements Question 1 (a), (b) and (c) William Shakespeare; Julius Caesar, Total Study Edition ed. Robert Wilks, Pansing Publication, 2011.
Answer Guide for Secondary 4 Literature in English 2016 Paper 2 (Drama) (a) How does Shakespeare make Calphurnia and Portia such dramatically compelling characters? This is quite a typical character question. Similar questions that have come out recently for Paper 2 include: 1) (for Romeo and Juliet) How does Shakespeare make Paris such a dramatically effective character? 2) (for Romeo and Juliet) What makes Tybalt such a dramatically compelling character? It would be wrong to assume that such questions only feature main or prominent characters. Many students were shocked when the Paris question came out as they considered him a minor character. Ironically, such a question based on a minor character could be advantageous, as there is arguably less to write about, so you can focus on very specific traits or incidents/moments to explore. With a more prominent character, there could be too much material to choose from and we could be in a dilemma over whether to go for depth or scope. Calphurnia and Portia may similarly be regarded as minor characters, but do consider that even so called minor characters can have quite a significant role and impact in the play. After all, even if they themselves do not go through much development, they could be very important in fleshing out important characteristics of the so-called main characters. Their involvement could also be a trigger for important events. They could also serve as a foil to another character, or represent an important idea, the way Piggy in Lord of the Flies represents knowledge and intellect. This question involves not one, but two characters. This is deliberate, as the individual characters Calphurnia and Portia are far more interesting when compared. Indeed, Shakespeare invites this comparison using parallelism, with Portia s scene where she pleads with Brutus on her knees immediately followed by Calphurnia s more agitated pleading with Caesar, also on her knees.
Analysing the Question: Defining Key Terms How does : we have to explain how the playwright achieves the effect (of making them dramatically compelling) dramatically compelling : a dramatically compelling character is one who is interesting in a striking way such that you feel compelled to watch them on stage. Such a character could play a significant role in the play because they represent an idea, or their actions are a catalyst for key events, or they could be a foil for another character. Look for what is unique about the character and the effect they have on the audience. Do we feel pity for the characters, or are we repulsed by them? Are they involved in a moving scene, or do they add humour to the scene? Do we find the character charming, or are we disturbed by the character? What fascinates or captivates us as we watch the character on stage or when we think about the character within the larger world of the text? Consider as well that a dramatically compelling character may not necessarily have a lot of screen time. Possible Approach to Answering the Question Introduction Portia and Calphurnia are dramatically compelling in their roles as wives to two central figures in the play, Brutus and Caesar respectively. Shakespeare sets up parallel scenes to directly compare the way they interact with their husbands and their status in their relationships with them, revealing much about their own personalities as well as their husbands. Main Point Evidence / Analysis Point 1: (on Calphurnia first) She is dramatically compelling because: - of her first appearance, where she is humiliated, and is given one line only to demonstrate her obedience to her husband - of her distraught state, pleading with her husband, showing her concern for him - her nightmare that When we first see Calphurnia on stage, she is labelled as barren by her husband Caesar. He orders her to touch the virile Antony as he runs past at the feast of Lupercal, as per the Roman custom, implying that it is she who is sterile, not him. She complies, but surely this must be humiliating. She does not have a voice, and seems to represent women who are subservient to their husbands whims. Her only lines in this scene are Here, my lord. Coupled with her lack of lines, Caesar s chauvinistic attitude make her seem more pitiable,. When she pleads with Caesar not to go to the Senate as she has had a horrible nightmare in which Caesar is murdered, she comes across as genuinely concerned for her husband, saying You shall not stir
foreshadows her husband s death and increases the tension - her initial success but later powerlessness to stop him, representing the powerlessness of women in general in the play Point 2 (on Portia now) Portia is dramatically compelling because: - of her dignity and nobility - the close relationship and intimacy she shares with Brutus, which is more striking when compared to the relationship between Caesar and Calphurnia - how despite the respect and love her husband has for her, she is also powerless to influence out of the house today. Caesar, in typical fashion, dismisses her fears at first. She then shows a shrewd understanding of her husband s nature by suggesting that he attributes his not going to her fears instead of his, telling him to Call it my fear. She uses emotional blackmail when she gets down on her knees and implores him not to go, pleading with him upon my knee. Caesar finally relents and says that for thy humour I will stay at home. This incident offers an illuminating insight into her character as we find that although she is married to a very egoistic and insufferably arrogant man, she is not exactly helpless. When Decius arrives and twists the interpretation of her dream, however, ensnaring Caesar with his own pride, ambition and vanity, her voice is once more silenced. She helpfully adds to Caesar s explanation to Decius about why he cannot go by saying Say he is sick, but this ends up annoying her husband instead, resulting in his angry retort, Shall Caesar send a lie? From that point onwards, she is silenced, and left helpless as Decius manipulates Caesar with his sweet and deceptive words. She is rendered powerless by both her husband s pride and his enemies cunning. When we first meet Portia, she projects confidence and dignity. She gently rebukes Brutus for leaving her side, imploring him to tell her what troubles him. Her words are gentle yet firm, Dear my lord, / Make me acquainted with your cause of grief. When Brutus says that he is just not well in health, she is astute enough to know he is lying, as she replies that she know Brutus is wise, and were he not in health / He would embrace the means to come by it. She obviously has great respect for her husband, and demands equal respect from him, citing her worth as the daughter of Cato and the husband of Brutus, fathered and husbanded by two great men respectively. She feels that whatever is affecting her husband, she ought to know of, by the right and virtue of my place. Although Brutus acknowledges
him or prevent the tragic events later in the play Point 3 (on both Calphurnia and Portia) Conclusion the nobility and loyalty of his wife, proclaiming to the gods to render him (me) worthy of such a wife, he still refuses to tell her what ails him, giving evasive and vague answers. She resorts to getting on her knees, showing a cut she has given herself as proof of her constancy. Portia comes across as a strong, noble woman and wife. Her relationship with her husband appears closer and more intimate than Calphurnia s relationship with Caesar, which seems more distant. The way she speaks to Brutus is almost from the perspective of an equal, bringing up her own noble origins and her rights as a wife. With Calphurnia, Caesar speaks even to her in the third person, and even in our kindest interpretation of his behaviour towards her, treats her like a child who is to be appeased. It is, however, significant that even Portia cannot move her husband enough to confide in her. Both Calphurnia and Portia present striking portraits of women in the world of the play. Calphurnia is more of a trophy wife, married to a powerful and charismatic man, and she is expected to support his ambitions. Portia, although she is presented as Brutus s equal in terms of their honourable and noble bearing, is also distanced from Brutus s private worries and political life. Masculine power and pride are emphasised throughout the play, and the women and their concerns are sidelined. Despite being sensitive to the impending tragic events (demonstrated through Calphurnia s grimly prophetic dream and Portia s intuition), they are given no influence over the turn of events. Their role in the play suggests the silencing of the gentler, humanising female voice, as the men allow their pride, ambition, anger and hatred to rule their actions.
(b) Brutus says that the conspiracy should hide behind smiles and affability. Explore two moments from the play that show vividly the power of manipulation and deception. The key words manipulation and deception immediately brings to mind several moments in the play that could be relevant, but it is worth the time to unpack the quote from Brutus first. Brutus says this in Act 2 Scene 1, when he inadvertently describes the conspiracy s dark nature, and realises that to succeed in their objectives, they must hide their true intent behind smiles and affability. We should link this then to the idea of deception, noting perhaps that even noble Brutus acknowledges the need for deception and duplicity in order to achieve what he would like to believe is a noble deed. It is clear here that deception refers to a deliberate act, and not self-deception, which is something we might associate with Brutus, depending on our interpretation of him. Having said that, here are some possible moments to choose from: Main Point a) Moment: In Act 1 Scene 2, when Cassius tries to persuade Brutus to go against Caesar, and reveals in a soliloquy his true intentions Powerful because: Even noble Brutus may be swayed by Cassius cunning and manipulative words Evidence and Analysis Well, Brutus, thou art noble; yet I see Thy honourable mettle may be wrought From that it is disposed. For who so firm that cannot be seduced? Cassius s soliloquy reveals his clear intention to seduce Brutus with his insinuations of Caesar s weaknesses and excesses. His glee that even Brutus s honourable mettle can be corrupted is especially sinister. I will this night, / In several hands, at his windows throw,/ As if they came from several citizens, / Writings, all tending to the great opinion / That Rome holds of his name. Cassius is blatant here in stating his intention to deceive Brutus into thinking that he has the support of many
b) Moment: In Act 2 Scene 2, Decius masterfully convinces Caesar to go to the Senate through deception, manipulating him through Caesar s vanity, pride and ambition Powerful because: How skilfully Decius is able to change Caesar s mind and appeal to his ambition, ego and vanity c) Moment: In Act 3 Scene 1, Antony appears to be grieving and pretends to Romans if he were to go against Caesar by sending him forged letters. Most mighty Caesar, let me know some cause, / Lest I be laughed at when I tell them so. Decius cleverly implies that Caesar s weak excuse for staying at home will be laughed at, deftly avoiding insulting him directly. This dream is all amiss interpreted Decius masterfully twists the interpretation of Calphurnia s dream by flattering him with the notion that Rome shall suck reviving blood from him. Rather than warnings and portents of evils imminent, Decius is able to convince Caesar that the nightmare is instead a vision fair and fortunate. If you shall send them word you will not come, / Their minds may change. Decius appeals to Caesar s ambition here, and achieves his objective by planting the suggestion in Caesar s head. Besides, it were a mock Break up the Senate till another time, / When Caesar s wife shall meet with better dreams. Decius appeals to Caesar s ego here, implying that he will be mocked by his hypothetical critics, perhaps even adopting their imagined mocking tone. If Caesar hide himself, shall they not whisper, / Lo, Caesar is afraid? Decius again attacks Caesar s weakness, his pride, knowing full well that Caesar would never allow himself to be seen as a coward. Brutus is noble, wise, valiant, and honest; / Caesar was mighty, bold,
accept the conspirators justification for killing Caesar in front of the conspirators, while secretly plotting to turn the Romans against them Powerful because: How Antony cleverly gains the confidence of the conspirators, in particular Brutus, so that he has an opportunity to turn the tables on them. There is a great sense of foreboding when Antony chillingly says in a soliloquy after the conspirators have left, Cry havoc, and let slip the dogs of war, / That this foul deed shall smell above the earth / With carrion men, groaning for burial. royal, and loving. / Say I feared Caesar, honoured him, and loved him. Antony is careful to praise both Brutus and Caesar. This strategy proved effective, as Brutus was convinced that Antony posed no threat. If Antony had criticised the conspirators, he would be deemed hostile to their cause. If he had pledged immediate loyalty to them, he would appear disloyal and arouse suspicion. By appearing to want to hear out their reasons for killing Caesar, he comes across as fair and honourable, which would appeal to Brutus. It is notable though that Cassius is not quite as convinced about Antony s intentions, warning Brutus several times of the danger Antony poses. d) Another possible moment: In Act 3 Scene, when Antony delivers his cunning speech, gradually turning the crowd against Brutus and the conspirators, leaving the mob incensed and calling for their heads Powerful because: Antony s oratorical skills prove how easily men may be manipulated and moved to serve the ends of others, whether they be personal or political.
c) (i) How does Shakespeare make this passage so dramatically effective? O Caesar, read mine first; for mine s a suit That touches Caesar nearer. Read it, great Caesar. - dramatic irony creates anxiety and tension as we know that Artemidorus s suit could save Caesar, yet frustratingly, Caesar chooses to dismiss him What touches us ourself shall be last served. Caesar obviously wants to appear magnanimous and project the regal aura of a benevolent ruler when he says this. This backfires on him as if he were to have read Artemidorus s suit, he would not have died so soon. I wish your enterprise today may thrive. - Popilius cryptic statement to Cassius creates suspense as Cassius panics, thinking that their plan has been discovered. If this be known, Cassius or Caesar never shall turn back, For I will slay myself. In his distraught state, he declares that he will kill himself since neither Cassius or Caesar shall turn back. It is striking that Cassius, who has been the main instigator of the conspiracy, should be so nervous and agitated at the first hint of trouble, and that Brutus, who has been so conflicted and troubled about his involvement, remains calm and reassures Cassius, telling him to be constant. Most high, most mighty, and most puissant Caesar, Metellus Cimber throws before thy seat An humble heart - dramatic irony heightens the tension as the conspirators close in on Caesar, with Metellus dramatically kneeling in front of him, and addressing him in flattering, almost exaggerated terms, most high, mighty and puissant. - Cinna s sinister reminder to Casca that he is the first to raise his hand against Caesar, while Caesar asks, exasperated perhaps, if there is anything else he must address suspense is built up here. - the shocking contrast between the conspirators external behaviour and their actual motives. There are two concurrent scenes on stage: the external façade staged by the conspirators, where they engage Caesar, and the secret whisperings of the conspirators, which the audience is privy to as well. The audience anticipates the conspirators next move, while feeling anxious and frustrated at Caesar s obliviousness to the threat around him.
Remember that for dramatically effective questions, it is vital to consider the impact of the scene on the audience. (ii) By referring closely to one earlier moment, do you consider Brutus involvement in the conspiracy honourable? Support your answer by referring closely to the text. By requiring us to focus only on one moment, the question ensures that we remain focused. We need to be very familiar with this moment however to be able to use it effectively, with reference to at least three to four key quotes. Possible moments to choose: a) His dilemma in his courtyard, debating whether or not to kill Caesar his indecision and doubt prove that he is an honourable man with sincere intentions, although he may be misguided. He is really at war with himself, because he wants to do the right thing, for Rome, yet the means troubles him greatly. This proves that he has honourable intentions b) When he tries to mask the true nature of the conspiracy, claiming they should be sacrificiers, not butchers or murderers, to carve Caesar as a dish fit for the gods rather than as a carcass fit for hounds. He cannot seem to acknowledge the sinister, evil nature of the conspirators, even though he seems to recognise its dark nature is he deluding himself? Can we then really say that he is honourable, or is he someone who does not want to face the ugly truth? c) Brutus s aside at the end of Act 2 Scene 2 shows clearly his deep guilt over having to kill his friend. When compared with Trebonius s aside seconds earlier, we can see how torn Brutus is compared to Trebonius s glee at the impending death of Caesar. Knowing how comflicted he is and that he still goes ahead with the deed could be seen as proof of his honourable nature, as he feels that he must go ahead for the sake of Rome, no matter the personal grief it causes him.