Superstition was an important concept in the Roman times, as it was the driving force in countless actions of the populace at that time. Shakespeare conveys the idea that many people tried to circumvent what the future held, such as unfortunate events, by being superstitious. This is exceedingly eminent in Julius Caesar, as it influences the basic daily life of the Roman citizens. From naked thonged men to ghosts, almost every person has to deal with superstition, a task that many seem to take as life changing. In Julius Caesar, superstitious feelings within the characters alter their choices regarding life, death, and revenge.
The setting of the first scene with Caesar is based upon a superstitious belief, The Feast of Lupercal. Marullus states “You know, it is the feast of Lupercal” (I.i.67). This was a time of sexual glorification when infertile women attempted to procreate while fertile women sought more offsprings. Caesar’s apprehension concerning his wife’s infertility is illustrated here when he commands Antony, “Forget not in your speed, Antonius/ To touch Calphurnia.”(I.ii.6-7) He greatly anticipates that she will bear him a child as a result, which exhibits pronounced superstition. However, he (like many others) will change his view on superstitious actions. In the beginning of the scene, a soothsayer, old in his age, cautions Caesar to "Beware the Ides of March,"(I.ii.18) an admonition of Caesar's portending death. Out of Caesar’s haughtiness, and his low regards towards the old man, he overlooks it saying he is a dreamer.
However, it was not only Caesar who took superstition into account; many other citizens were afflicted by their conviction in omens as well. Casca’s chronicle of the seven portentous phenomenon he witnessed gives notice to the fact that he believes it is a message from the gods that an evil was going to befall Rome. “Do so conjointly meet, let not men say/ 'These are their reasons; they are natural; / For, I believe, they are portentous things.”(I.iii.29-31)
Furthermore, people sometimes couldn’t make decisions on their own, so they would go to the Augerers. Augerers were what you would call today, “psychics” and people would often seek their counsel on crucial affairs. When Caesar requests consultation with them after getting an earful of Calphurnia’s shrieks whilst asleep, he does not like what he hears. His servant returns and relays to him, “They (the Augerers) could not find a heart within the beast.”(II.ii.40). This unfavorable omen implies that calamity awaits Caesar should he leave his house that day.
When the Soothsayer says, “Beware the ides of March.”(I.ii.18). He is setting up the death of Caesar, allowing the reader to realize that the date will be very significant to the play. This dialogue already sets up the stage for the plot to progress rapidly. Although, once Caesar leaves the stage, Brutus and Cassius are shown. Brutus begins to speak of his worries, “[...]I turn the trouble of my countenance/Merely upon myself. Vexed I am.”(I.ii.37-38). Brutus’ next few lines expresses his conflicts, showing his weakness towards Cassius. Cassius is able to easily swoop in and influence Brutus, without having to break a sweat, to follow through with his conspiracy to kill Caesar. The superstition does not actually come true without the actions of Cassius and Brutus. The exhibition of Brutus’ fear and the manipulation of Cassius, both set up the play to continue and also enhances the foreshadowing. The second warning given to Caesar is from Calpurnia. Caesar repeats what is spoken to him, “She dreamt she saw my statue/Which like a fountain with an hundred of spouts/Did it run pure blood[...]”(II.ii.76-78). Caesar is shown to heed this warning and it does describe what will happen on the ides of March. He repeats this to indicate his belief in his wife. Although, Decius manages to convince him to come. He states, “It was a vision fair and fortunate:[...]/great Rome shall
And let no one think this tale a myth or a lie, for it is vouched for by Cornelius Balbus, an intimate friend of Caesar. the second sign came when Spurinna warned him to beware of danger, which would come not later than the ides of March. The third sign came when a little bird called the king-bird flew into the Hall of Pompey with a sprig of laurel, pursued by others of various kinds from the grove hard by, which tore it to pieces in the hall. Caesar himself dreamed of being in the clouds and his wife Calpurnia thought that the pediment of their house [had] fel...
CAESAR: He is a dreamer. Let us leave him. Pass.” (1.2.28-29) Othsayer appears to be the fortuneteller who tries to warn Caesar of an unknown danger in this situation but Caesar quickly dismisses the idea. Caesar demonstrates his control of his own life, that the predictions are merely dreams that can never turn into reality. Under such conditions, it cannot be the fate but rather the free will of Caesar himself to blame for his death for taking risks and facing life in his own way. Another instance of fate is Casca's observations of a dreadful night. He describes the setting as if there are burning slaves, crawling lion, and ghostly women on the street of the Capitol. (1.3.25-32) These omens are usually associated with fate, as that supernatural sights hints the happening of a tragedy soon, but they don't necessarily define the tragedy itself. They can refer to a series of other events and not the assassination of Caesar. Lastly, the night before the assassination, Calphurnia convinces her husband to stay home due to a nightmare, but Caesar responds with as if it is no big matter in "CAESAR: Nor heaven nor earth have been at peace tonight. Thrice hath Calphurnia in her sleep cried out "Help, ho, they murder Caesar!" (2.2.1-3) In her dream, Calpurnia claims to see the death of her husband whose blood flows all over Rome. Her fear toward
Much of Rome perceives Caesar as a superior being and immortal, but Cassius holds a contrasting perspective of Caesar. There is a point in his story where Caesar is crying for help, “Help me, Cassius, or I sink!” (111). Cassius also reveals a time when Caesar fell ill in Spain and how Caesar was completely taken over by this sudden sickness, “And when the fit was on him, I did mark/ How he did shake-’tis true, this god did shake,” (120-121). Cassius tells of Caesar’s weakest points, exposing moments in which Caesar does not seem godly at all. By illustrating the time in which Caesar fell ill Cassius proves that Caesar is not a celestial because become gods do not become ill, only normal citizens do. Cassius diminishes Caesar’s godly nature by illustrating how this great immortal being, cannot swim or can become terribly ill, just as any other commoner. Cassius, by exposing these moments in Caesar’s life, demonstrates to Brutus that Caesar is not fit to be a leader and is not the god Romans perceive him to be; his actions create a different person than his words. This supports Cassius’ point that Caesar is not fit to be a leader because Caesar is deceiving the people of Rome. Cassius continues to elaborate on his episode when he informs Brutus that he was crying for others to bring him water, “Ay, and that tongue of his that bade the Romans/Mark him, and write his speeches in their books,/Alas it cried, ‘Give me some drink, Titinius” (125-127). The great Caesar, whom others admire and document his words, is now begging for a drink to help him recover from the sudden illness. Cassius emphasizes how Caesar is not divine since he cannot manage sudden, challenging events. He reveals how Caesar whose words can persuade the citizens of Rome is now begging for someone to help him. This diminishes his godly nature because it demonstrates how weak Caesar can become in an instant.
Caesar’s lack of somewhat savage Machiavellian traits foreshadows his downfall a multitude of times. From the beginning, the soothsayer warns him to watch out for the Ides of March. There are also bad signs; men in fire walks up and down the streets, and a lioness gives birth on the streets. Likewise, before he heads to the Senate House to receive the crown, Calphurnia tells him that she has had a nightmare, and pleads him to stay home. However, he ignores all the premonitions and moves toward where the Senators are, with no one to protect him when he is in danger. This action of Caesar contradicts the teachings of Machiavelli, “Before all else, be armed” (The Prince). As a result of his carelessness, the conspirators see that he has no chance of circumventing, and assassinates him. Similarly, he is unsuccessful in recognizing the outrage of Cassius and a few others; he isn’t doubtful enough of their secretive deeds and eventually loses the reigns to eliminate the defiance. "The same thing occurs in affairs o...
She talked about how god only gives signs to people who are important and make difference in the world. Which relates to the thunder and lighting. Another foreshadowing can be seen when the servant told Caesar about the animal not having a heart. This creates another point for Caesar to stay home. Both Calphurnia and the servant believes Caesar should not leave the house. The servant who brought the message about the heartless animal, was the one who told Caesar that the animal was probably another message to Caesar. The servant also approved the message from the priests, who believed this supernatural and weird event is a sign. The sign that death will come to Caesar soon and that Caesar must stay
Calpurnia’s dream predicted Caesar’s death well, after being stabbed by all of his friends and bleeding to death, the men that killed him bathed in his blood happily thinking Rome will be safe. The omen of Caesar’s ghost visiting Brutus represented Brutus’s death. Caesar said “I will see you in Philippi,” meaning he will see Brutus at the place of the battle and watch him die, which he did. The Tragedy of Julius Caesar had the ongoing theme of Fate versus Free Will, but it seemed that fate was mostly shown.
The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings (1.2.139-141).” Through careful and strategic planning is Cassius able to persuade Brutus, a man who “for his virtue and valiantness, was well-beloved of the people (“Sources” 120),” into conspiring and acting upon the death of Caesar. Caesar also believes that men control their own fate by stating, in response to the omens and portents, “Danger knows full well / That Caesar is more dangerous than he (2.2.44-45).” Through this quote, Caesar presents his belief that he has the ability to overcome a superstitious fate. Therefore, he ignores all the signs and omens and thus determines his fate through an action that would seal his death.
Calpurnia attempts to scare Caesar into staying at the house instead of going to the Capitol. She begins with ethos to establish her credibility and justify her concerns. Calpurnia “never stood on ceremonies”, but now they “fright her,” juxtaposing that the omens never scared her, but are frightening enough that she now is attentive to them. Because women were not as powerful in Rome, Calpurnia further credits her argument by including the “watch.” Using selection of detail, Calpurnia Even the guards, who are men, have seen the strange events, and they are scared. Since even men are scared, it should implicate to Caesar that he should be scared as well. Calpurnia sees a lioness, an image, normally associated with strength and courage, “whelp[ing] in the streets.” The lioness is essentially crying, scared of something. Caesar is also strong, but should be scared as well. When ethos fails to impact Caesar, Calpurnia switches to using pathos to try and scare Caesar. “Fierce fiery warriors [fighting] upon the clouds,” is an image that connotes war. In war, there is death and Caesar should be afraid of death. Calpurnia uses the image of “drizzled blood upon the Capitol,” connoting death, scaring Caesar of what is to come if he chooses to go to th...
Julius Caesar is shown to have many reprehensible character flaws over the course of the drama. Namely, he is illustrated as having a belligerent sense of arrogance. Initially, the great majority of the Roman public adores and esteems Caesar. However, this adoration inflates his sense of self-pride and arrogance. For example, in the play’s introduction Caesar is given warning about a plot to extirpate him from the throne. A soothsayer warns him to “beware the ides of March” (890). Rather than to obviate the attempt, Caesar blows off the Soothsayer, stating “he is a dreamer, let us leave him” (890). Later in Act II, Caesar has been informed of dead men walking, a lioness giving birth in the street...
Caesar was a cruel yet upstanding ruler, and people should not have made assumptions about his future actions. Caesar was a man of
Superstition has been around almost since people first inhabited the earth. For this reason, it has played a main role in many classical pieces of literature. One of Shakespeare’s tragedies, The Tragedy of Julius Caesar, is full of superstition and the supernatural. It contained so much superstition in order to foreshadow key events in the plot, to further develop characters, and to thrill and relate to the Elizabethan audience for whom the play was written.
Moreover, to enhance his mind to join the conspiracy, he said that Caesar is just an ordinary man by giving specific instances that showed Caesar is as ordinary as others e.g. Caesar cried out to help him when he was about to drowned if Cassius and that Caesar was an epileptic. Showing their weakness is fatal especially if the person is a leader because if the leader shows the weak si...
Caesar's death was a most tragic event indeed, for he would have made a great Roman monarch. However, there were many unheeded warnings. caveats which might have averted his death. In the first act itself we see that Caesar comes across a soothsayer. who fore tells that the future holds terrible things for Caesar.
...es his take on the matter (Act II, ii, 109). This perfectly serves as an example of how Caesar emphasizes both the significance of the public and the political world over the public and the domestic world, as well as showing how much Caesar truly respected his wife and her opinion. Finally, one of the strongest instances of how Calpurnia played a vital role in the novel was when the fearfully voiced her opinion on whether Caesar should go to the Senate and when she was reported to have had a dream in which she, “…in her sleep cried out, ‘Help, ho! They murder Caesar!’ Who’s within?” (Act 2, ii, 3-4). Foreshadowing the murder of her husband, and begging him to not go out, Calpurnia essentially controlled the fate of Caesar. It is remarkable to think that if Caesar had only listened to his wife, the entire course of the story would have been dramatically different.