brutus is a traitor essay

A friend of Caesar. Antony claims allegiance to Brutus and the conspirators after Caesar’s death in order to save his own life. Later, however, when speaking a funeral oration over Caesar’s body, he spectacularly persuades the audience to withdraw its support of Brutus and instead condemn him as a traitor. With tears on his cheeks and Caesar’s will in his hand, Antony engages masterful rhetoric to stir the crowd to revolt against the conspirators. Antony’s desire to exclude Lepidus from the power

Shakespeare there are many forms of leadership apparent throughout the play. The story begins with the leader of Rome named Julius Caesar, who is a very successful but “ambitious” leader. Because of his ambitious ways a couple of Caesar's friends--Cassius, Brutus, and Marcus decided to form a plan to assassinate Caesar and save Rome. While they followed through with this plan Antony discovers Caesar is dead and plans a funeral for him in front of the citizens of Rome, and Antony with his great leadership qualities

one of the most important characters of the Roman Empire. Born to Marcus Antonius Creticus and Julia Antonia in 83 BC, Antony was one of the bravest Roman generals who worked under Triumvir and Julius Caesar during 43-30 BC. “In your bad strokes, Brutus, you give good words;/ Witness the hole you made in Caesar's heart,/ Crying “Long live! Hail, Ceasar!” Antony received his first overseas experience in the western portion of the Roman Empire during 57 to 55 BC. He served with the Roman governor of

people all attending Julius Caesar’s funeral, and were already believing everything Caesar's killers had told them . One of the killers named Brutus, a once trusted friend of the recently deceased Caesar, had allowed Antony to speak to the people as long as he, “... come to bury Caesar, not to praise him” (I.ii. 71) and remind them that he had been permitted by Brutus to speak. Antony had hoped that by making this speech, he may be able to convince the crowd that their slain ruler was a good man who had

friend named Brutus. Members of the triumvirate seen how loved and powerful Caesar had become. They felt Julius was threatening the tradition of the senate and Rome. While this was happening, a conspiracy grew. The conspiracy was ultimately to kill Caesar before he became too powerful. Cassius, a jealous conspirator, strongly urged Brutus to join in on the conspiracy to kill Caesar. Brutus consciously thought about this decision, he would also think about the “good” of Rome. Brutus decides to join

credit now stands on such slippery ground / Either a coward or a flatterer”(III,i,191-193). These crucial lines describe the problem that the character Antony, from Shakespeare's play Julius Caesar, was faced with when he found out that a group of traitors had killed Caesar. Antony stood on the edge of an abyss and was one step in wrong direction from falling over the edge. He was about to face a bloodthirsty crowd and was going to have to convince them to renounce the conspirators. To do this he would

of violence is evident throughout the entire play. The interpretative quality of violence, and the relative effectiveness of its usage, provides a useful lens for understanding this work. For this essay, I intend to examine the three characters of Brutus, Cassius and Marc Anthony using this particular focus. I will demonstrate how each of these characters and their relationships to violence appears as basically relative and open to interpretation. This quality of violence helps demoralize its use

scene with his entourage, including the military and political figures Brutus, Cassius, and Antony. A Soothsayer calls out to Caesar to “beware the Ides of March,” but Caesar ignores him and proceeds with his victory celebration. That night, Cassius sends Brutus an anonymous letter claiming that Caesar has become too powerful. Brutus fears a dictatorship, and worries that the people may lose their voice. Cassius arrives at Brutus’ house with a few like-minded men, and begin discussing how to deal with

arrogance he builds that city in that place, and gives it his own name, as it is now called; (likewise) Ticius (travels) to Tuscany and founds dwellings, Longbeard lifts up homes in Lombardy, and far over the French Flood [i.e., the English Channel] Felix Brutus with joy on many broad banks plants Britain, where war and vengeance and wonder have existed in alternation therein, and often both bliss and blunder have very often alternated since.)2 In thus contextualizating the action of the poem, the Gawain-poet

Dante and His Inferno In Dante’s Inferno, the Roman-Italian poet Dante paints a horrifyingly detailed and illuminated visual walkthrough of the entirety of his journey through the caverns and levels of hell. On his journey, guided by the dead poet Virgil, Dante meets and sees a large variety of deceased individuals from many periods of time, and is able to interact with them in specific ways, and learn from them the deeper purposes of the inferno in which he walked. From these individuals, Dante