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ED010817.Pdf AWESISVdC133S149.2.2e V.167.T.Nreftrwanftak... ..v.=11.4411111=g1tSMEZ1V-114, RE P O R T R ESUMES ED 010 817 24 JULIUS CAESAR. PLUTARCH'S LIVES. AUTOBIOGRAPHY.LITERATURE CURRICULUM IV, STUDENT VERSION. BY- KITZHABER, ALBERTR. OREGON UNIV., EUGENE. REPORT NUMBER CRP4i .449.46 REPORT NUMBER BR 5 41366 ORS PRICE MF40.18 HC -$3.00 75F. DESCRIPTORS- *CURRICULUMGUIDES, *STUDY GUIDES,GRADE WI CURRICULUM RESEARCH, *ENGLISHCURRICULUM, SECONDARY EDUCATION, LITERATUREPROGRAMS, *ENGLISH LITERATURE, *LITERATURE GUIDES, BIOGRAPHIES,INSTRUCTIONAL MATERIALS, EUGENE, PROJECT ENGLISH,NEW GRAMMAR, SHAKESPEARE,FLU7ARCH THIS 10TH -GRACE STUDENTGUIDE POSED SOME QUESTIONSAND CLARIFIED OTHERS ON SHAKESPEARE'S"JULIUS CAESAR," AND PRESENTED SHORT SELECTIONSFROM PLUTARCH'S "LIVES*CON CAESAR, BRUTUS, AND MARK ANTONY ) WITH ACCOMPANYING DISCUSSION QUESTIONS. A UNIT OFAUTOBIOGRAPHICAL READINGS OF EARLYLIFE EXPERIENCES WAS ALSO OUTLINED.BY PRESENTING BOTH THE FLAY, 'JULIUS CAESAR," AND BIOGRAPHIESRELATED TO HISTORICAL CHARACTERS IN THAT FLAY, THEGUIDE PROVIDED STUDENTS AN OPPORTUNITY TO.CONSIDER DIFFERENCESBETWEEN HISTORICAL AND DRAMATIC WRITINGS PERTINENTTO THE SAME HISTORICAL EVENTS.IN ADDITION, THE GUIDE ALLOWED THESTUDENT TO COMPARE WRITING STYLE BETWEEN THE BIOGRAPHIESOF PLUTARCH AND THE AUTOBIOGRAPHICAL SKETCHES IN THEGUIDE'S FINAL SECTION. THE TEACHER VERSION OF THIS GUIDE ISED 010 818. RELATED REPORTS ARE ED 010 129 THROUGH ED 010160 AND ED 010 803 THROUGHED 010 832."(JH) . , OREGON CURRICULUM STUDY CENTER U. SDEPARTMENT OFHE ALTH, EDUCATION. AND -WELFARE OffiCi-Of Education This document has heen.reprod'ue;ed exact:VS; receivedfrom the person or organization originating it. Points of view or opinions stated do not necessarily represent official Office of Education position or policy. JULIUS CAESAR- PLUTARCH'S LIVES AUTOBIOGRAPHY `s1 -Literature Curriculum IV, Student Version. -.7 The project reported herein was supported through the Cooperative Research Program of the Office of Education, U. S. Depaztment of Health, Education, and Welfare. f+' "e, 4, r.! .6. A' e ;,;'* 4 .4 vti " " ; ".4 r 444 4. .:" 7 4 k -, ' . -,',;Mit,:44,4;1. ''',:,., : ; . ?.,$; {-,..-..',',"- ,,,,,,i,4.".;,11.,IA ti: , ... ,77$ 41.1 S '',': Ske'd, V},A,,1. 4* ,,,, ''' : CJ 5.. 1. .).,'i'll. ,1 .,,s, 0 ' :"k,.I.:',44' A Ilt , , a i.,,P.,+:. 4.41 1'0' 1 1, 0 '1'4 $* .... ^1 '4" "4k :4,'Ilt, A1$` , .* 4 .1 ( ..$11 14.! I. I 1.,:..4A , 4:....t.. .ri:. r '61 4. AD s, , .4 4 .10 :.''. r ,. .,.4, IS" 1.7, , ,: a . ... ', 1 .. 1:... $ ':`. ....k$,.'':.1,:' .t1 ...,:.. ;, " .$II..' 4. ., * -;". i:$ , ,.. .,. , , '), '''''':''' $ '.'" "' ';:- ,g .7Zt- " ''t .1 $ ; r $ 4.4 A ' 44.14,),7 r *,. ; ''7 4 t ':,',1.*...$ .2 iirt I * : -$, 'It 1, b,1/N' * ' S? ' 4....c ::';' '. 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'''), i'1,:?c,"a ' ;,,,-..k.,"' A`;-*ili'',1'$.'''1 .-C: '. .ks.4 /4 e-.. 'V '('KT, $1.z., :Vp4` ,;.;. ,:t ,i, ',. "l' IS j '.4 :,,,s:,.,,,. ' ,,,', '1,... ;',,$:i 7 ,,; 141 . Ii1,,`'',',.:.),`, , / Al, ,y, . ric.00sAt 1';';.';'X'Li,',:it;'.'t $,;1;'... 44.4.4* '1?s s , -. I ' , , 0 , - I, 44. ' 417 1 ,..1174'i5.74' 7(..,..1711401% , 111 , ,. 24...r.% :It att. 414. 04,12. 4'.. A. i-"Z.1:_!:"""7- P:21%-... 4-sKi-4.-:_"-:1 Shakespeare's The Twit aJulius Caesar "FRIENDS ROMANS COUNTRYMAN lend me your ears. " It is a famous line, theone that opens Mark it funeral. oration in Shakespeare's Julius Caesar, oftenspoken in fun by schoolboys and unconsciously imitated by modern politick=on the stump- - FELLOW AMERICANS DELEGATES TO THIS GREAT CONVENTION MY FRIENDS. The imitation is understandable, for Air orry'soration is a political speech and Antony himselfone of the leaders of the pro-Caesar party--"party" of course not quite in our sense--in ancientRome in the second half of 7,1 the last century before Christ. The speech (youmay have seen a photo- graph of the ruins of the Roman Forum,or market-places where the oridzial speech was given) is directedat what may be called the Roman electorate and is shrewdly designed toturn the audience against the anti-Caesar party and enlist the populace in Antony'scause. At this point, however, any resemblance toa political speech in a modern democracy ends, for Antony's real aim isto incite riot and SW des- truction. He succeeds, and at the end of the funeralscene, after the mutilated corpse of the dead dictator has been revealed,the assassins of Caesar have "rid like madmen through thegates of Rome. " Civil war follows. Julius Caesar is a bloody play,Its subject is political action. Its cep event is assassination. Althoughthe main events of the plot took place two thousandyears ago and the play itself probably was written in 1599, the issues are still feltas Jive ones ,by modern audiences. It was one of the first plays of Shakespeareto be played in modern dress. A brief summary of the first part of the play'spolitical narrative may serve to lead us into the drama as a whole. At the beginning, Caesar is in power in a state that still hada "republican" constitution. He has been a great general as wellas a political leaders and has recently defeated his rival Pompey in a civilwar that had broken out between them and their followers. IIe is popular with themasses On the first scene they have come into the streets to celebrate his victory over **.Pompey) and his opponents fear thathe wishes to be crowned king. This would have brought the ancient constitutimal republicto an end. All of this is history. Some members of the Roman senate have decided that Caesar's dangerous ambition (as they see it) must be blocked, and, hispower being what it is, this can be done only by his death. Cassius is the ringleader of the conspiracy, and in. the first two acts his immediate aim is to bring his friend Marcus Brutus into the plot. Theeon spirators need Brutus (both he and Cassius are alio experienced SoldierS), especially r7d14"c"--41"t wrwmpasertiottearra -2- because of his honorable reputation, tha trust in which he is Wield.If Brutus can be persuaded to join with them, theycan hope to win support for their cause after the ambitious Caetar is elirdinated: (Does this suggest that the other conspiratorsare sontething leg: than honorable, that their motives may not be entirely pure? It isa question to be kept in mind ea you read the play, ) -After some profound indecision Brutuscomes to the conciliator' that the assassination is justified, and tacticsare planned at night in Brutus' orchard. Once committed to thecause, Brutus assumes leadership, arguing particular issues with Cassius with persuasive eloquence. The conspirators seal their pact by ceremonial handclasps, and all that remains in to make sure that Caesar willcome to the meeting o& the Senate the next Ay, since the Senate-house is to be thescene of the assassination, a The responsibility for getting him there is assigned to Decius Brutus. All the conspirators will deliver at leastone wound to their victim: all must share in this "honorable" crime, 0.J.)--- The fatal decision has been made. From it issue all of the succeeding events of the tragic drama as Shakespearearranges them for us. ct supplies much of the interest all drama, comic as well as treeho s for us. For instancl, conflictappears in The Merchant, of Vadce in the competition for the hand of Portia and in the matching a wits in thegreat courtroom scene. In Julius Caesar conflict is con- tinuous and intense.It is most obvious axspectacular in the assassination scene and the battle scenes of the civil war that is the main action of the pliqos last two acts. Then there is the kind of conflict that takes the 0. form of argument or debate, whichone might expect to find in a play about politics; for example, the differences of opinion between Cassius and Brutus: should Antony be killed along with Caesar, should hebe allowed to give the funeral oration? The twoorations themselves take the form of arguments for the defence and for the prosecution. When the war begins, there are quarrels within the two factions: between Antony and Octavius Caesar and between Brutus and Cassius. Finally, there is the kind of conflict that takes place within the individualthe conflict in Brutus, for instance, between his personal loyaltyto Caesar and his devotiOn to a political ideal. Otfier senate chambers have sometimesbeen settings for scenes of violence --ter OWN for instance: "When Senator Sumner madea ye- hetnent verbal attack on Servitor Butler of South Carolina in 1856, PtiettOn Brookir, a Representative from thesame state and a relative of the latter, replied in terms of physical force, catching Sumnerunawares and beating hix victim senseless with a heavy cane. Though the act was not strictly chivalrous- -for Sumner, wedged in between -his chair and hit 4004 cOuld not defend himself--adniiring South Carolinians gave B*001* a trand'banqUet and Mire *4 a netv cane bearing the words ttitts knockdown ar rente " aii* .21# eivilzp,atio Chitrlei and Miry Bea 0,0 fi -3 - In watching and studying allof these conflicts,we may find ourselves somehow involved in them.
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