I have recently reread the exquisite play Julius Caesar by William Shakespeare which is of my favorite era, Elizabethan, and have written two piece which i would selfdeam great. Enjoy!
The first is a character analysis of Octavius, which if you have no prior knowledge of Roman history, is meaningless to you, therefore like all my works, i advice you to either read the play or just inquire of its origins.
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| Gaius Julius Caesar Octavius Augustus |
Marcus Brutus is one the most controversial characters of all literature. As the protagonist of the famous play, Julius Caesar, by William Shakespeare, Brutus is the epitome of internal conflict on whether loyalty or the general good is more important. From the choice to the murder of Julius Caesar and the aftermath, everyone has their own opinion of Brutus; however, one will always reign supreme, and that is Gaius Julius Caesar II, formerly known as Gaius Octavius. As the beloved nephew of the deceased and the future heir, Octavius holds both positions of love and hatred for Gaius Julius Caesar, his great-uncle, and therefore his view of the death is unbiased and for the good of all. It was no concealed fact that Caesar cared and loved for Octavius after the many deaths of his family members. In doing so Octavius likewise gained a great sonly love for his uncle; however, upon arrival in Rome, he became heir of Caesar via Ceasar’s will, thereby granting him motive in the desire to become the Roman emperor. In Caesar’s death, Octavius searched for the best interests of Rome via Caesar either as a great ruler, who would have continued to reign successfully, or as a corrupted dictator, who dissevered to be replaced by Octavius himself who would govern righteously. Ultimately, Octavius views Caesar’s death as a tragic scandal that should never have happened.
Prior to Caesar’s death, Octavius was summoned to Rome to review Caesar’s will with him. While traveling to Rome, he is informed of Caesar’s death and advised by Mark Antony, Caesar’s friend, not to come for fear that he will be slain as well; “Post back with speed and tell [Octavius] what hath chanced. Here is a mourning Rome, a dangerous Rome, No Rome of safety for Octavius yet,” (3.2.313-316). If Brutus had murdered Caesar for the greater good, then Antony would have no reason to fear for Octavius’ life. Yielding his friend’s warning so as to not worry him, Octavius stays out of Rome. Later Octavius arrives in Rome upon Antony’s call for him; there he discovers that in uncle’s will, Caesar has adopted him, legally titling him heir of the in transit Rome. Still Octavius distastes Brutus for his actions against his uncle. Even as Octavius reforms the triumvirate, a republic, Brutus is at war against him. Moreover, only a malevolent killer would seek to “kick the dead horse”, but in fact Brutus was not even kicking the dead horse, but rather the horse he was riding; he murdered Caesar to prolong a republic which Octavius was aspiring to rebuild and by battling Octavius he was hypocritical, thereby proving his evil intentions.
Eventually, Brutus’ true desires come about, and he and Octavius prepare for war. At the traditional meeting of opposing leaders, Octavius catches Brutus showing his cowardliness; “Words before blows; is it so, my countrymen? / Not as we love words better, as you do,” (5.1.28-29). Octavius remarks that Brutus would rather exchange insults than continue with the battle, and no coward seeks the welfare of others when those they are helping do not even recognize it. Hence the cowardly Brutus is a liar and a fiend.
Ultimately, Brutus commits suicide; many believe that he did so out of grief of his friends’ deaths which leads to confusing in Octavius saying; “According to [Brutus’] virtue, let us use him With all respect and rites of burial. Within my tent his bones tonight shall lie, Most like a soldier, ordered honorably,” (5.5.82-85). At the sight of the dead Brutus, Octavius did not merely forget what Brutus had done to Caesar, but rather he knew that Brutus killed himself out of guilt and remorse of the murder, thereby regaining his honour which was lost at the assassination. It is because of the suicide that Brutus redeemed himself, not because of the death. Therefore in death, Brutus is an honourable man.
The latter is my personal view of the entirety of the play, which again, however even more so, is necessary to have an understanding of the literature.
| Gaius Helvius Cinna |
The characters of William Shakespeare’s Julius Caesar are some of the most developed and realistic; they are more than merely good or evil but human with strengths and flaws; and for this reason there are few who are underappreciated. Among this overlooked some is Cinna the poet; formally know as Gaius Helvius Cinna, a small character, who only appears in one scene. He is accused and lynched for the murder of Julius Caesar by mistake; the mob believed he was Lucius Cornelius Cinna, one of the conspirators. At first glance, he seems to only suffice as the victim to depict the citizens’ reckless following, but truly he is one of the most morally straight citizens of Rome. Contrarily to Antony, a liar, and the conspirators, killers, Gaius Helvius Cinna was honest and peaceful; additionally he was a poet, a favored people of the Romans.
Most societies classify truthfulness as one of the utmost important qualities of a person; likewise, the Roman Republic was no different. In Roman mythology, Alathea is the patron of truth, truthfulness, and sincerity (“ALETHEIA”). Opposingly, the Pseudologoi are her malevolent counterpart; they are spirits of lies and falsehoods, having a negative connotation (“PSEUDOLOGOI”). Truthfulness, especial in the form of validity, plays a key role in the play of Julius Caesar, probably most importantly after the truce between the conspirators and follows of Caesar is made. Shortly after the truce, Marcus Brutus, the leader of the conspirators, requests Mark Antony, Caesar’s friend, not to speak ill of them; “You shall not in your funeral speech blame us” (3.1.270). Antony responds with; “Be it so I do desire no more,” (3.1.277-278). But later on he betrays them in his funeral speech; “And none so poor to do [Caesar] reverence. O masters, if I were disposed to stir Your hearts and minds to mutiny and rage, I should do Brutus wrong and Cassius wrong,” (3.2.132-135). Indirectly, Antony tells the public that Brutus and Cassius, another conspirator, were cruel in murdering Caesar, thereby directly violating both his promise to them and the Roman ideal of sincerity. Contrastingly, when Cinna is ask his name he states the truth; “Your name, sir, truly. / Truly, my name is Cinna,” (3.3.27-28). Therefore Cinna is more truthful than Antony, and truthfulness being a moral; he is more moral than Antony.
Similar to honesty, peacefulness is another commonly acclaimed moral. The goddess, Irene, is the Greek advocate of peace. As the Horae, season goddess, of spring, many feasts were held in her honour. Additionally, spring was the most common time of war, and with the usual worshiping of Irene during this time she became associated with peace. The Roman form of Irene is Pax, meaning ‘peace’; unlike, Irene, Pax is directly associated with peace and therefore is the goddess of serenity (“IRENE”). In the opposite of peace, war, the conspirators caused much of it; [As Casca strikes, the others rise up and stab Caesar,] (3.1.84). The murder of Caesar is in a complete negligence of the goddess, thus immoral. Oppositely, Cinna did not cause strife, but was merely a victim of the conspirators and Antony’s instigation; “I am not Cinna the conspirator. / It is no matter. His name’s Cinna. Pluck but his name out of his heart, and turn him going,” (3.3.33-36). By Cinna abstaining from violence he showed respect to the goddess, Pax, unlike the conspirator’s who cause war, and therefore were immoral.
Different from the previous attributes, poetry is a unique moral trait of the Romans. The muses, especial Calliope, in this case, were the goddesses of the arts; in Classical times, Calliope was assigned as goddess of the epic poem, and was often worshiped do to the Romans love for the arts, particularly poetry (“CALLIOPE”). Of all of Cinna’s works, he is best known for his epic poem, Smyrna (“Helvius Cinna”). Though Cinna was not a very famous poet he was respected as a good, almost holy, person because of the great reverence that the Romans had for the arts. Right before his death, Cinna proclaims his occupation as a legitamation of not being a conspirator; “I am Cinna the poet, I am Cinna the poet!” (3.3.30). Thus in life and death, poetry is his art because in death he called out to it as a final hope, the moral art of the moral man.
Gaius Helvius Cinna was a righteous man of morals; namely: truth, peace, and poetry. As a minor character of the play, Julius Caesar, he is often overlooked and underappreciated, while he was abiding the religious values. Therefore, Helvius Cinna is the tragic hero of Julius Caesar; moral, brave, benevolent; the meek one who few noticed; “The evil that men do lives after them; The good is oft interrèd with their bones,” (3.2.85-86).
Bibliography
Atsma, Aaron J. "ALETHEIA : Goddess or Spirit of Truth | Greek Mythology | Roman Veritas." THEOI GREEK MYTHOLOGY, Exploring Mythology & the Greek Gods in Classical Literature & Art. Theoi Project, 2000. Web. 21 Dec. 2011. <http://www.theoi.com/Daimon/Aletheia.html>.
Atsma, Aaron J. "CALLIOPE : Goddess Muse of Epic Poetry | Greek Mythology, Kalliope, W/ Pictures." THEOI GREEK MYTHOLOGY, Exploring Mythology & the Greek Gods in Classical Literature & Art. Theoi Project, 2000. Web. 21 Dec. 2011. <http://www.theoi.com/Ouranios/MousaKalliope.html>.
"Helvius Cinna." Reference.com. HighBeam Research, 2009. Web. 21 Dec. 2011. <http://www.reference.com/browse/helvius%20cinna>.
Atsma, Aaron J. "IRENE : Greek Goddess of Peace, One of the Horae | Mythology, Eirene, W/ Pictures | Roman Pax." THEOI GREEK MYTHOLOGY, Exploring Mythology & the Greek Gods in Classical Literature & Art. Theoi Project, 2000. Web. 21 Dec. 2011. <http://www.theoi.com/Ouranios/HoraEirene.html>.
Atsma, Aaron J. "PSEUDOLOGOI : Gods or Spirits of Lies & Falsehoods | Greek Mythology | Roman Mendacium." THEOI GREEK MYTHOLOGY, Exploring Mythology & the Greek Gods in Classical Literature & Art. Theoi Project, 2000. Web. 21 Dec. 2011. <http://www.theoi.com/Daimon/Pseudologoi.html>.
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