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Analysis of the two speeches in juliud caesar
The emotional and physical effects of soldiers at war
Rhetorical analysis about the following two monologues from william shakespeare’s julius caesar
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Recommended: Analysis of the two speeches in juliud caesar
Marcus looks back to him.
“There are times. I wish I could live by my mother’s words. And times when I understand…I cannot,” Colet professes. “My mother would have me carry a bucket of water, everywhere I went, when my power first presented itself.” He recounts, “When I was five, I went fishing with my older brothers at a stream near our home. I never caught any fish and my brothers would tease me relentlessly for days after.” (He was transported back to that time in his mind.) “It was close to supper, and my brothers had already caught three each. I still have not caught any. Out of sheer frustration, I threw my rod into the stream, and my brothers force me in to retrieve it. I was climbing out when I heard my eldest brother scream and ran
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He thought long and hard, knowing the ramification that will befall this family, due to the transgression that has taken place. “You’re going to have to take responsibility for what you’ve done. Just as my men would have for disobeying orders,” he tells him: feeling a kinship with Marcus that is making it hard for him to order his death.
“Are you going to kill me?” Marcus questions. His childlike innocent made it hard to forget that he was just a young boy: a victim of his circumstance that did not understand the ramification of his actions.
A pang expression took over Colet’s face. He felt a sentimental woe in the pit of his stomach that made him feel ashamed, at the very thought of executing a child: especially one that was only a few years younger than him, when he committed his first killed, using his power to protect his family. Although, he knew Marcus would have to pay for what he did and that the commanders will never believe Sara acted alone. He was still reluctant, twisted up inside with the choice he as both a Lieutenant and a Kingsman, has to make. He knew what he needed to do, but he wonders if he truly can go through with
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The sound of her son’s voice brought her to tears. She did not know how to respond to losing her child. She falls to the floor. She could barely move. Her exhaustion has taken over. Her body was drain of every bit of strength she could muster. She strains her neck looking up to Colet. He tries to help her up, but she did not want his assistance.
Colet bends down to her and whispers in her ear. “I promise your son…someday you’ll understand.” He sees the bloodstain on her gown has grown in size and realize Sara is still bleeding. “Let me summon you a Devine. He can help treat your wound.”
“Leave me,” Sara snivels, staring past him to a Kingsman tying Marcus’s wrists together. “I now understand how men like the King stay in power,” she speaks on her knees with tears streaming down her face, as Marcus disappears from her view. “As long as he has callous men that tend to his needs, regardless of the pain they bring to others…then man like him will always stay in power.” She peers back to him with watery eyes. “I pray…Lieutenant.” She nearly chokes on the word. “You never feel this scathing pain that you have gifted me with.”
Colet steps back from Sara, feeling the sting of her words pierce his heart. He heads to the door, where he lingers in it. “I’m sorry for my cruelty,” he said before
In creating a character so obvious in his irascibility, duality and selfishness, Reginald McKnight also creates a character we can sympathize with. McKnight created a sense that Marcus was an eager individual, who set himself apart from society, but in doing so, he set himself up for failure. This, if anything, makes use aware that negative remarks and statements can lead to a very negative end result. We are forced to form our own conclusion and conform to the fact that no matter how many miles away, one person may never change.
The significance of the passage I chose to analyze is often overlooked. It is a monologue from Portia, Brutus’s wife, taking place in Rome, at Brutus’s Orchard during the first scene of act II. Brutus is convincing himself that the plot against Caesar is a righteous decision, by speculating that Caesar´s nature would change upon being crowned, resulting in a tyrant. He then receives the false letters Cassius wrote, intended to deceive him into thinking they are the words of anonymous citizens testifying Caesar’s alleged inappropriate ambition, he is partially convinced to proceed with the conspiracy. Shortly after, the conspirators enter the scene and discuss the terms: Who will be involved and how the murder will be carried out.
As a young girl full of doubt and uncertainty, her “Father’s holiness filled her eyes with light”(16). He brightened her outlook on life, as she wasn’t able to see his imperfections at this age. Engraved in Sara’s head is the man whose praises lift her heart when there is little money to live off of, and Sara chooses to see only the selfless actions rather than the selfish ones. When Sara’s father refuses to pay the rent, he hits the collector lady, which Sara sees as “David killing Goliath, the giant,”(26). Sara is is in awe by this action and is thankful to have a selfless father whom stands up for his family. These select moments that she chooses to remember create a false image of him where he is represented as a selfless and caring man. This encourages her to always think of him when she believes she is in trouble or needs help. Sara longs for her father after she refuses to marry Max Goldstein, a man who seemed to be perfect, but only wanted a wife rather than someone to love. She thinks that her “refusal to marry Max Goldstein was something he could understand”(202). Sara always feels like she can go back to her father for help because she convinces herself that he is all knowing and genuinely great. Even though Sara Smolinsky may have left home because she finally realizes the harm her father causes, she always seems to fall back on the reassurance that her father is a hero. This false image
“I have other business to do now.” Charles explains. “I’ll see you later.” The King goes across the hall to check on the Queen. But before he had gone in the room, a feeling of impending doom strikes him. He looks out the window apprehensively. Nothing seems to be wrong. He goes back to his own business. Suddenly, he hears screams from outside the castle. “The kingdom is being attacked!” he exclaims. He runs down the stairs as fast as he can. “Julian, while I lead the army, I need you to keep guard on the room in which the queen is right now.” He commands. “We cannot lose the heir to the throne!” King Ch...
The murder of Julius Caesar is not only a turning point in history, but it is also a turning point in William Shakespeare’s play. This play features members of Roman society persuading one another to succeed in their own end goals, despite how life-threatening these goals may be. To accomplish these goals, the characters had to employ various rhetorical devices. In the play, Julius Caesar, Shakespeare suggests that rhetoric has the capability to influence change in the opinions within reality. This relationship between rhetoric and reality is reinforced by the close examination of Cassius’ encouragement speech, Antony’s funeral speech, and Cassius’ argumentative
It takes a lot of things to prove those to have wit, yet only one thing to prove another is ignorant. In the play The Tragedy of Julius Caesar, written by William Shakespeare, Marc Antony presents a heart wrenching speech in the name of Julius Caesar to the Roman people. In doing this, he challenges the ideas and reasoning for murdering Julius Caesar presented by Brutus, which in turn, sways the people’s trust and faith away from Brutus himself. His powerful words bring the people to rebel against Brutus and other conspirators with violence and brutality. Therefore, in his acclamation, Marc Antony uses skilled rhetoric and several persuasive techniques to build his credibility and appeal to the Roman citizens to fuel their rebellion against
Friendship is something that most people value in life, but some friendships can lead to a negative impact or even a “tragic” ending. In the play The Tragedy of Julius Caesar, Julius Caesar's ambition for power drove the honorable Brutus to think negatively about Caesar’s position of being the king of Rome. The honorable Brutus shows his love by committing an act which seems to him to be the best fit for the city, which is to get rid of Julius Caesar. After Caesar is murdered, Caesars good friend Antony seeks revenge in his honor. Throughout the play, Shakespeare includes many good speeches; one of the best was the one delivered by Antony. Antony’s speech included many persuasive rhetorical devices such as logos, pathos, and ethos. By carefully
The sky grew dark and the rains had started again and she knew Scarlet would be on her way. But, Scarlet was not who see saw when she heard noises at the door. Standing in the doorway were two soldiers, that she recognized right away, from her days in the manor house. “ Good evening gentlemen. I take it that if you are her that his lordship has become ill again. No Ordina, we are under direct orders too arrest you for witchcraft.” “Oh I see. Her face goes somewhat solemn. “His lordship is suffering again, so he has now condemned me in his temper tantrum he??” The one soldier looks at her with a regret. “If there was any other way, I would not be doing this. Your remedies and or so called potions have helped my
“Mercury, get over here. I have a job for you,” Apollo shouted. Mercury ran over to the god of prophecy in a flash.
is centered on the phrase “avarice is the root of evil.” Because greed causes all of the brother’s demise. It causes them to turn upon each other. The pardoner wanted to test this and so
Shakespeare is no where close to modern text but, he does know how to achieve a certain purpose in writing which is used today. The play, Julius Caesar, has two very important speeches that are uttered by the characters Mark Antony and Brutus while at Caesar’s funeral. Brutus’ speech, which shows what should be his sorrow for Caesar’s death that he allowed, uses the rhetorical appeal pathos in order to get his point across. This appeal provides emotion to persuade the audience into believing the speaker. In this case, Brutus is making an effort to get the people of Rome to believe that Caesar had to die. That’s why throughout the speech, he continues to state how he is mourning the loss of his friend. There are also rhetorical strategies
It was a crisp October morning, and Jocelyn had just arrived at the Anderson’s home to find Adrienne screaming for help. Racing over, Jocelyn began to dig through her bag and grab her cell phone. She called 9-1-1, and the ambulance came shortly after. Joseph was gasping for air and his eyes were rolled back into his head. Jocelyn had no idea what to do to keep him alive, and all over her face was utter panic. It was like she couldn’t remember
... a fatherly connection toward Billy. He had no remorse toward his decision to execute Billy because he believed that that was the only decision he could make. Where his remorse lied was in the fact that the young boy that he care so deeply for, in a fatherly way, received no justice. It was that the same boy whom he groomed to be like himself, so young, so full of innocence and youthfulness was hung, out of precedent.
Carol lowered her head in shame and pushed her sunglasses higher up on her nose, hiding the bruises around her eyes. She shivered as the wind whipped around her and pulled her threadbare sweater closer around her battered body, wincing as the movement pulled at her aching ribs. There was nothing she could do about it right now she thought, so she trudged on.
ii. 48-50). Death, violence, and loss are woven all throughout the language, and in doing so, the physicality of such matters dominate the metaphorical world of the play. Perhaps the most tragic event in the play, the death of Cordelia allows the fullest expression of the tragedy’s address to personal morality. Like the other two daughters, Cordelia is an extension of Lear. Thus her death is an aspect of his own, allowing Lear to experience death and speak to the wrongness of it all. “No, no, no life! Why should a dog, a horse, a rat, have life, and thou no breath at all? (Shakespeare V. ii. 306-308).” Both unnatural and inevitable, the unjust death of Cordelia embodies our sense that death is wrong and outrageous. Most of us are not kings, but it may be true that in each of us is a King Lear who is unwilling to give our kingdom, our sense of privilege, our rights we think we have earned. We expect to cling on to our existence, and pretend death does not exist. As we continue to explore the psychology behind death, we find, as we so often do, that Shakespeare has been there before