Julius Caesar William Shakespeare

Curriculum Unit Mary Enda Costello Stephen L. Jacobs Mary Anne Kovacs Mary Neelan www.centerforlearning.org

Curriculum Unit Authors Mary Enda Costello, master English and humanities teacher, has participated in a number of humanities grants in the United States and England. Among her Center for Learning curriculum units are The Merchant of Venice and Othello. Stephen L. Jacobs earned his M.S. at State University of New York. An educator and English department head, he has written publications for U.S. Military Acad- emy preparatory schools and coauthored the Center for Learning units Hamlet and Twelfth Night. Mary Anne Kovacs, who earned her M.A. at the Bread Loaf School of English at Middlebury College, Vermont, is a secondary English teacher. She is also an author and coauthor of numerous curriculum units in The Center for Learning’s language arts and novel/drama series, including Participating in the Poem, Wide Saragossa Sea, and The Crucible. Mary Neelan earned her M.A.T.E. at Villanova University and studied in England under a National Endowment for the Humanities grant. A secondary English teacher and department chairperson, she is the author or coauthor of several Center for Learning curriculum units, including Jane Eyre and Mythology. Editor Catherine A. Pasciak, MLIS Cover Design Susan Chowanetz Thornton, B.S. Cover image of dagger © iStockphoto.com/Petro Perutskyi About the Cover Images of two daggers are featured on the EID MAR coin issued by Brutus himself, ample proof of the pride he took in the assassination of Caesar.

Copyright © 2011 The Center for Learning, Cleveland, Ohio. Reprinted 2012. Manufactured in the United States of America. Printed on recycled paper. This curriculum unit is a revision of the 1998 edition created by Mary Enda Cos- tello, Stephen L. Jacobs, and Mary Neelan. The worksheets in this book may be reproduced for academic purposes only and not for resale. Academic purposes refer to limited use within classroom and teach- ing settings only. ISBN 978-1-56077-919-3

ii Julius Caesar Contents

Page Handouts Introduction v Teacher Notes vii Lessons 1 Prereading 1 1, 2, 3, 4 2 Beginning Julius Caesar 11 5, 6 3 Meeting the Play’s VIPs 17 7, 8 4 Prelude to Conspiracy 23 9, 10 5 The Character of Brutus 29 11, 12 6 Unheeded Warnings 35 13 7 The Assassination of Caesar 39 14, 15 8 Two Funeral Orations 45 16, 17 9 The Aftermath of Caesar’s Death 51 18, 19 10 Brutus: Idealist or Realist 59 20, 21 11 Before the Battle 65 22, 23 12 Conclusion 71 24, 25 13 Shakespeare’s Use of Sources 77 26 14 Culminating Discussion 83 27, 28 Supplementary Materials Writing Topics 90 Culminating Activities 91 Quiz: Act 1 of Julius Caesar 92 Objective Test: Julius Caesar 94 Answer Keys 99 Finding Parallels in Shakespeare’s Tragedies 100 Bibliography 101

Julius Caesar iii Introduction

Julius Caesar is one of William Shakespeare’s most teachable plays. The language is not too difficult, the action is swift and exciting, and the plot is clear, with no confusing subplots. While Hamlet should probably be one of the last Shakespearean plays read by high school students, Julius Caesar, like Romeo and Juliet, is a good place to start. Julius Caesar is a political play, with political issues at the root of the tragic conflict. It features a great general who would be king, but who, because of his own pride and ambition, meets a brutal death. Shakespeare’s story, based on history, deals with the reasons why Julius Caesar is assassi- nated, as well as with what subsequently happens to his murderers. The play implies that good government must be based on morality. In this respect, Julius Caesar is as relevant in the twenty-first century as it was centuries ago during Shakespeare’s time. For some students, much of the fascination of the play comes from its real historical base. Along with Antony and Cleopatra, Coriolanus, and Titus Andronicus, Julius Caesar is one of Shakespeare’s Roman plays, which deal with Roman generals and the life and times of ancient Rome. Shakespeare’s ultimate source was Plutarch’s Lives of the Noble Grecians and Romans. In 1559 this book was translated into French by Jacques Amyot; Amyot’s work was, in turn, translated into English by Sir Thomas North in 1579. Interestingly, the play is named after Julius Caesar, but Caesar domi- nates only the first half of the tragedy. This has led some critics to conclude that a better title would beThe Tragedy of Marcus Brutus, the man who is the focus of the rest of the play. Caesar’s influence extends beyond his death, however. Caesar’s ghost appears to Brutus the night before the battle on the Plains of Philippi, and both Brutus and Cassius refer to Caesar before dying. Thus it may be convincingly argued that the main character is in- deed Caesar and that Shakespeare’s choice of title is quite appropriate. Still, Brutus emerges as the most interesting and fully developed character, and the play ends with Mark Antony acclaiming him “the noblest Roman of them all.” If not the noblest, he is certainly one of the most com- plex. We observe his struggle with the discrepancies between Stoic ideals and the limitations of human nature. We watch as, with the best intentions, he makes mistakes that have disastrous consequences. The play also depicts two interesting female characters, although it leaves them in a somewhat shadowy background. Calphurnia, married to Caesar, has a terrible nightmare that leads her to implore him not to attend the senate on the Ides of March; of course, she does not prevail; her basic attitude of submission to her husband is evident. Portia, Brutus’s wife and anything but submissive, demands an active role in his public life; the manner of her suicide (eating fire) stuns the other characters as it does us in the audience.

Julius Caesar v Teacher Notes

The Center for Learning’s Shakespeare series is based on some core be- liefs about both Shakespeare and education. William Shakespeare was not an elitist; he wrote for a broad audience that ranged from the groundlings standing around the stage to the wealthier classes sitting in the balconies. His plays are well suited to twenty-first century classrooms. This is especially true of Julius Caesar, with its universal themes, characters, and situations. Lessons in the Shakespeare series interface with national and state standards that challenge students to read and understand a wide variety of texts, including classic works, and to derive from those texts insight into life and human nature. Procedures engage students in a variety of learning strategies and draw on personal experiences as a means of understanding Shakespeare’s plays. Students examine language structures as well as lit- eral and figurative expressions, and procedures lead students to research using a variety of sources. The units emphasize students’ responsible and informed participation in the classroom learning community. This curriculum unit focuses on several student-centered objectives and approaches the play in a step-by-step manner. Activities include all levels of learning, from basic understanding to in-depth analysis to cre- ation and evaluation. First and foremost, lessons aim to involve students in the process of reading and understanding Julius Caesar as a literary and dramatic work of art. Handouts enable students to put together a compre- hensive study of plot, character, imagery, themes, and structure; they also help students to transcend the hurdle of Shakespeare’s language. While the concentration is primarily on the play itself, students also become ac- quainted with Elizabethan concepts and dramatic conventions. As with most plays, you will find it helpful to have students read aloud or role-play many of the scenes. You may also want to acquire a professional recording of Julius Caesar for use during scenes with lengthy passages that may make student readers uncomfortable. With advanced placement and honors students, it is useful to assign homework reading prior to the in- class work; this will help to refine their ability to read Shakespeare and to crystallize their understanding of what is happening in the play. The schedule for readings is as follows: Lesson 1 Prereading Lesson 2 Act 1, scene 1 Lesson 3 Act 1, scene 2 Lesson 4 Act 1, scene 3 Lesson 5 Act 2, scene 1 Lesson 6 Act 2, scenes 2–4

Julius Caesar vii Lesson 7 Act 3, scene 1 Lesson 8 Act 3, scenes 2–3 Lesson 9 Act 4, scenes 1–2 Lesson 10 Act 4, scene 3 Lesson 11 Act 5, scenes 1–3 Lesson 12 Act 5, scenes 4–5 Lessons 13 and 14 The entire play The play is intended to be not only a page experience, but also a stage experience. A variety of film adaptations have been attempted, and you may be lucky enough to have an actual stage performance in your area. Students usually enjoy seeing the play and often have a lot of fun creating their own videos of various scenes. The supplementary materials at the end of the unit include suggestions for dramatizations, writing assignments, and other follow-up activities. A quiz on the first act is also included, as is an objective test on the play as a whole. If you are not assigning a culminating essay, you may want to en- hance the test with one or more essay questions adapted from the list of writing topics. An annotated bibliography and a chart showing parallels among several Shakespearean tragedies are also provided.

viii Julius Caesar Lesson 1 Prereading

Objectives • To reflect on various forms of government and styles of political leaders • To understand the history behind The Tragedy of Julius Caesar • To review terminology helpful to a comfortable reading of the play itself Notes to the Teacher Theoreticians often debate the relative merits of various kinds of government: democracy, republic, monarchy, oligarchy, socialism. None function perfectly, and history is replete with both nefarious and admirable examples of each. Before and during Julius Caesar’s time, Romans debated and even fought wars while trying to decide on the best form of government. Until 509 b.c.e., Rome was a monarchy; in that year, the Brutus family drove the king from power and Rome was established as a republic. It was soon evident, however, that rule by a king had simply been replaced with rule by a group of wealthy Romans called patricians. By 100 b.c.e., Rome was in form a moderate democracy; in practice, the Senate was in control. Julius Caesar (102–44 b.c.e.) was a patrician, but he cast his lot with the people. He gained much support by spending money for public entertainment and freeing farmers and tradesmen from heavy taxes. In 60 b.c.e., a triumvirate was formed; Caesar, Crassus, and Pompey governed Rome. In 58 b.c.e., Caesar was made governor of Gaul (an area in southern France and northern Italy). At the age of forty-four, he began his military career, and, during the next ten years, he proceeded to conquer all of Gaul. After Crassus was killed in a military campaign, trouble began to develop between Caesar and Pompey. Eventually Caesar invaded Rome, and Pompey fled first to Greece, then to Egypt, where he was later murdered. Caesar, meanwhile, made himself absolute ruler of Rome. In 45 b.c.e., Caesar defeated Pompey’s sons at Munda, Spain. Caesar’s return from Munda marks the beginning of Shakespeare’s play. By that time, Caesar had been made dictator for life. Act 1 presents him as the undisputed leader and master of the entire Roman world. Fearing dictatorship, a group of conspirators, including Cassius and Brutus, planned the assassination of Caesar and carried it out March 15, 44 b.c.e. This led to

Julius Caesar 1 the formation of a second triumvirate consisting of Octavius Caesar, Mark Antony, and Marcus Lepidus. Eventually, at the Battle of Philippi, the triumvirate avenged the murder of Caesar by defeating the forces of Brutus, who committed suicide rather than be taken prisoner. This lesson begins by having students consider some basic patterns of governmental organization and the benefits and drawbacks of each. Then students use the Internet and/or print resources to develop an overview of the history that led to Caesar’s domination in ancient Rome. Many Web sites provide both data and pictures of busts of Caesar. The lesson concludes by having students define terminology helpful to understanding and discussing the play. Procedure 1. Ask students to brainstorm a list of topics that frequently prevail in news stories, whether through newspapers, television, or the Internet (crimes, political issues, sporting events, natural disasters). 2. Ask students how they would describe the government of the United States (democracy, ideally with a balance of power among three branches of government). Point out that government, although it sometimes seems quite remote, concerns every one of us. Challenge students to name various types of government used in countries today and in the not so distant past (socialism, democracy, republic, monarchy, dictatorship, oligarchy). Distribute Handout 1, and have small groups use the Internet or print sources to complete the exercise. Suggested Responses 1. In a democracy, voting citizens have a voice in decision-making. The United States has, from its inception, been a democracy, although at first one with only limited suffrage. A strong advan- tage is that democracy does allow people a voice in decisions that affect their lives; it also imposes responsibilities, however, and sometimes democracies seem inefficient, as people waste a lot of time and lose progress because of disagreements. 2. In a true monarchy, the deciding voice comes from a sole ruler such as a king or a queen. Today, England is an example of a limited monarchy. A truly benevolent and wise monarch can provide an efficient and effective government; however, history shows that it is easy for a monarch to slip over into dictatorship and tyranny. In addition, in today’s world, it is very difficult for one person to know enough to make all the decisions. 3. An oligarchy is somewhat like monarchy, except that the power is shared by a group that consists entirely of the wealthy. It is easy for oligarchies to evolve, as the very wealthy often have both the time and the means to obtain public support and

2 Julius Caesar political power. A benefit is that these people can usually get things accomplished; a downside is the proclivity to cultivate the position of the wealthy without regard for the welfare of others. 4. A republic includes elements of both monarchy and democracy. While there is a leader, that leader has only limited powers and is in no way a monarch. In today’s world, this is a prevalent form of government, but one that requires continu- ous attention to maintaining a balance of power. 5. Socialism (communism) arose in response to abuses caused by the other types of organization, which often deteriorate to become only self-seeking. For example, capitalism can result in dog-eat-dog competition. Extreme separations of the haves and the have-nots in a society can provoke revolution and efforts to level society to one social class. The later decades of the twentieth century revealed the collapse of socialism, which often became dictatorial and, in the end, did not work. 3. Ask students how they would respond if the president of the United States had the title changed to king or queen—or if the state governor and city mayor did. (Almost invariably this leads to a sense of too much power in one person—a feeling that absolute power does in fact corrupt the person in power.) 4. Explain that the class will be studying a Shakespearean play that is a unique combination of history, tragedy, and political commentary: Julius Caesar. Distribute Handout 2, and have students work in groups to find and record information. (See Notes to the Teacher.) Make sure students are familiar with the following names and terms: Portia, Brutus, Mark Antony, Pompey, Cassius, the Ides of March. 5. Distribute Handout 3, and have students use dictionaries and other sources to define terms as they relate to classical Rome. Suggested Responses Political Terms 1. slave 2. ordinary people 3. chief magistrate; highest official in a Roman republic 4. person with total political control 5. common people 6. Roman judge; magistrate next to the consul in rank 7. mob of common people 8. in Rome, mainly patricians, wealthy and high born citizens who made the laws

Julius Caesar 3 9. magistrate responsible for protecting the rights of the lower classes 10. rule by three Military Terms 1. a trumpet or drum call to arms 2. a unit of the army 3. armed forces drawn up for fighting 4. troops 5. army division 6. flag (ensign) or flag bearer 7. cavalry 8. 3,000 to 6,000 soldiers of ten cohorts 9. conference between opposing forces 10. captives who had to pay a ransom to Rome to obtain freedom 6. Distribute Handout 4, and review the terms, which students will find useful in discussing Julius Caesar and with studies of other plays.

4 Julius Caesar Lesson 1 Handout 1 Name:

Forms of Government Directions: Societies inevitably organize themselves with some kind of leadership; otherwise anarchy ensues. Define each of the following types of government, and record examples as well as advantages and disadvantages of each.

Type Description Advantages/Disadvantages 1. Democracy

2. Monarchy

3. Oligarchy

4. Republic

5. Socialism

Who Was Julius Caesar? Directions: Use the Internet and/or print resources to research information about the background of The Tragedy of Julius Caesar. Then fill in the graphic organizer.

Personal Life

The Second The First Triumvirate Triumvirate

Julius Caesar

Birth Death

The Ides of March Military Feats

Enemy Conspirators

6 Julius Caesar © COPYRIGHT, The Center for Learning. Used with permission. Not for resale. Lesson 1 Handout 3 (page 1) Name:

Helpful Political and Military Terms Directions: Define the following terms, which will be helpful in understandingJulius Caesar.

Political Terms 1. Bondsman

2. Commons

3. Consul

4. Dictator

5. Plebeians

6. Praetor

7. Rabblement/Rout

8. Senators

9. Tribune

10. Triumvirate

Military Terms 1. Alarum

2. Battle

3. Battles

4. Charges

5. Cohort

6. Ensign

7. The horse in general

8. Legion

9. Parley

10. Tributaries

8 Julius Caesar © COPYRIGHT, The Center for Learning. Used with permission. Not for resale. Lesson 1 Handout 4 (page 1) Name:

A Glossary of Dramatic Terms Directions: Review the definitions of the following literary terms, which will be useful in your study of Julius Caesar.

Act—a main division of a drama (Shakespeare’s plays consist of five acts subdivided into scenes.) Alliteration—the repetition of the same initial consonant sound in two or more consecutive or closely associated words (Example: “For I have neither wit, nor words, nor worth . . .”) Allusion—a reference to a literary or historical person or event to explain a present situation (Example: “And Caesar’s spirit, ranging for revenge, / With Ate by his side come hot from hell . . .” Ate is the Greek goddess of vengeance and discord.) Aside—a brief remark made by a character and intended to be heard by the audience or by one other character, but not by other characters Atmosphere—the mood established by events, places, or situations (Example: “If you have tears, prepare to shed them now . . . / This was the most unkindest cut of all.”) Comic relief—a humorous scene or speech in a serious drama which is meant to provide relief from emotional intensity and, by contrast, to heighten the seriousness of the story Foreshadowing—a hint of what is to come, often used to keep the audience in a state of expec- tancy Imagery—words or phrases that appeal to the senses (Figurative language may use images, but not all images are figures of speech.) Irony—a contrast between what is and what appears to be; types include verbal, in which a character says one thing and means another, and dramatic, in which the audience knows what the characters do not Metaphor—a figure of speech that implies or states a comparison between two unlike things which are similar in some way; does not use like or as (Example: “These growing feathers pluck’d from Caesar’s wing / will make him fly an ordinary pitch . . .”) Oxymoron—a combination of two contradictory terms for the sake of emphasis (Example: “Cowards die many times before their deaths.”) Personification—a figure of speech in which human qualities are attributed to inanimate objects, animals, or ideas (Example: “O conspiracy, / Sham’st thou to show thy dangerous brow by night.”) Rhetoric—the art of persuasion; may include such devices as parallel structure, antithesis, repetition, and paradox Scene—a small unit of an act of a play in which there is no shift of locale or time

Simile—a figure of speech that states a comparison between two essentially unlike things; usually phrased with like or as (Example: “ . . . he doth bestride the narrow world / Like a Colossus . . .”) Soliloquy—a speech given by a character alone on the stage to let the audience know what the character is thinking and feeling Tragedy—a type of drama of human conflict which ends in defeat and suffering (Often the main character, usually dignified and noble, has a tragic flaw, such as weakness of character or wrong judgment, which leads to his or her destruction. Sometimes the conflict is with forces beyond the control of the character, such as fate or evil in the world.)

10 Julius Caesar © COPYRIGHT, The Center for Learning. Used with permission. Not for resale. Lesson 2 Beginning Julius Caesar

Objectives • To understand the place and time setting • To understand Shakespeare’s language Notes to the Teacher Acts 1 and 2 deal with the conspiracy against Caesar. With the climax of Caesar’s death in act 3, the play moves into its second phase with the consequences of the plot and the fates of the assassins. As the play opens, the Roman empire stretches from the north of Eng- land all the way to Egypt. Caesar is at the height of his power, having just won against Pompey-supporters in Spain, and is just making his triumphal return to Rome. This is a festive day, the feast of Lupercal, February 15. On this day, Romans celebrated the story of Romulus and Remus, the brother- founders of Rome, who were said to have been nurtured by a she-wolf in a cave. In this lesson, students connect the events in the play with historical and geographical facts about Caesar’s Roman Empire. They then read the opening scene and begin to grapple with Shakespeare’s English, as they recognize that Rome is not united in support of Caesar; some people seriously oppose him. The lesson concludes with a look at Shakespeare’s theater. You will want to display a large picture or sketch of what scholars think Shakespeare’s Globe Theater was. Many Web sites include suitable diagrams and pictures. Procedure 1. Refer students to the information on Rome that they acquired in lesson 1. Ask students what happened in 44 b.c.e. in Munda, Spain. (Caesar defeated the last supporters of Pompey.) Explain that the Roman Empire at this point was a vast territory extending from the North of what is now England into Egypt. (You may want to demon- strate with a map or a globe.) Caesar, at the head of that empire, was a vastly powerful and impressive figure. Point out that the play begins just as he has returned to Rome from the victory in Spain. 2. Have volunteers read aloud the roles of Flavius, Marullus, and the first and second citizens in act 1, scene 1.

Julius Caesar 11 3. Distribute Handout 5. (Note: If students appear to have serious trouble understanding what they are reading, go through the handout step-by-step with them.) Suggested Responses 1. The tribunes shout at the common people, accuse them of idleness, and seem to scorn them. 2. One is a carpenter, the other a cobbler (someone who repairs shoes). They do not fear the tribunes, but simply try to explain why they are on holiday. 3. The second citizen seems to enjoy baiting Marullus with little jokes. 4. It is the feast of Lupercal (see Notes to the Teacher), and Cae- sar is returning from a great victory. 5. Marullus is evidently a great admirer of Pompey, who was once also a great hero in the eyes of the common people. Marullus is chagrined that the people seem to have forgotten Pompey in their admiration for Caesar. 6. Marullus begins with rhetorical questions, moves into an accusatory tone (“You blocks, you stones”), picks up a tender image of motherhood, returns to accusations couched in the form of questions, and concludes with a call to repent. 7. The commoners react to Marullus’s speech by dispersing. These commoners seem to be a fickle crowd, prone to quick shifts in allegiance. There also seems to be a herd mentality, since they move as a group. 8. Marullus and Flavius want to reduce tributes to Caesar. They seem likely candidates for insurrection. 4. Point out that, at first, today’s Shakespeare readers often find his language confusing. Distribute Handout 6, and have the class complete the exercise. Suggested Responses 1. The line is perfectly iambic, with five feet. 2. Marullus 3. He is a tribune, therefore an official. 4. The carpenter and the cobbler, common people, speak in prose. 5. Frequently prose is reserved for lower-class characters. 6. The word can suggest a shoemaker, a bungler, or both. 7. Awl plays on the preceding word all.

12 Julius Caesar 8. The second citizen’s comments are filled with puns, which allow him to annoy without actually offending the officers. The puns would also amuse the audience. 5. Display a sketch or a full-color drawing of the Globe Theater. Explain that the Globe was one of the theaters in which Shakespeare’s plays were performed and was built by his acting company. Point out the pit, the area around the stage in which the groundlings stood during a performance, and the balconies with seats for the wealthier patrons. If possible, allow a few minutes for students to use the Internet to research facts about Shakespeare’s theater in contrast to theater today. Then pool information. (By law, only male actors could perform on stage. Performances occurred in daylight and required reasonably good weather; a flag was raised to indicate that the show would go on. There were no elaborate stage sets, as the theater might have to be available for a different play the very next day. The actors would need powerful voices; the special effects we take for granted today would not have been available.)

Julius Caesar 13 Lesson 2 Handout 5 Name:

Julius Caesar: Act 1, Scene 1 Directions: Use the following questions to understand the first part of the exposition of the play.

1. How do the two tribunes, Flavius and Marullus, treat the two citizens?

2. What are the citizens’ occupations? How do the citizens respond to the tribunes?

3. How does the second citizen’s response differ from that of the first?

4. What reasons do the citizens have for celebrating on the street rather than plying their trades?

5. Marullus becomes very upset with the citizens. What is bothering him?

6. Marullus gives quite an elaborate speech. What is his main point? What rhetorical devices does he use?

7. Commoners play an important role in Julius Caesar. What characteristics do we observe in them in the opening scene?

8. What seems to be Flavius and Marullus’s main purpose on the streets?

Prose, Poetry, and Puns Directions: Shakespeare’s plays are both drama and poetry. Their poetic form is called blank verse. Much of the natural rhythm of the English language consists of iambs, unstressed syllables followed by stressed syllables. The following words provide examples of iambs:desire, sedate, retain. A line with five iambs is referred to as iambic pentameter. When a piece written in iambic pentameter does not have a regular rhyme pattern, it is blank verse.

1. Read the following line, and identify the stressed syllables. You blocks, you stones, you worse than senseless things!

2. Who says this line?

3. What is his rank or position?

4. Skim through the first scene of Julius Caesar. While some of the lines are in blank verse, others are in prose. What characters speak only in prose?

5. What kinds of characters do you think Shakespeare will have speak in prose instead of blank verse?

6. A pun is a play on words. A person might use a word to suggest two or more meanings at the same time or use two different words that sound alike to create humor. What two meanings are in the word cobbler?

7. What word sounds like awl and completes a pun?

8. Find another example of a pun, and explain why Shakespeare uses puns in this scene.