In the following essay, Lendon explains how Caesar adapted Greek theories of warfare to better reflect Roman values and culture, particularly the Roman emphasis on courage.

In the following excerpt, originally published in German in 1979, Yavetz surveys modern interpretations of Caesar, focusing on the question of whether he should be considered a dictator.

In the essay that follows, Rebhorn argues that Julius Caesar is less about regicide than about the self-destruction of the Roman aristocratic, senatorial class through its members' efforts to outdo one another in greatness, and that Shakespeare uses the play as an analogy for the demise of an equally envious and self-destructive aristocracy in Elizabethan England.

In the following essay, Kujawinska-Courtney argues that the play's treatment of Julius Caesar's character is focused on whether Caesar should be viewed as insolent, impious, and imperfect, or as sacred and idolized. Kujawinska-Courtney contends that Shakespeare's manipulation of his character “shakes the audience's confidence that either Caesar is the correct one.”

In the following essay, Kujawinska-Courtney argues that the play's treatment of Julius Caesar's character is focused on whether Caesar should be viewed as insolent, impious, and imperfect, or as sacred and idolized. Kujawinska-Courtney contends that Shakespeare's manipulation of his character “shakes the audience's confidence that either Caesar is the correct one.”

In the excerpt below, Hampton contends that Shakespeare relies on rhetoric—more specifically, word play—to explore the untenable relationship between the patrician class and Caesar, the complex conflict between the patricians and the plebeians, and the easy effectiveness with which Antony manipulates the plebeians.

In the following excerpt, Adcock explains how Caesar enlarged the genre of commentarii, examines his motivations for writing, and asserts that his plain and precise writing style accurately reflects his personality.

In the following excerpt, Kaufmann and Ronan discuss Julius Caesar as a sustained study of the limits and tragic potentiality of Stoic constancy.

In the following excerpt, Kaufmann and Ronan discuss Julius Caesar as a sustained study of the limits and tragic potentiality of Stoic constancy.

Below, Lowenthal argues that Shakespeare portrays the character Julius Caesar as a great but ruthless leader, uninterested in either justice or the welfare of the common people but focused instead on the continuance of Caesarism.

In the following essay, Henderson explores how the act of writing helped to create the image of Caesar that he wanted to project of himself.

In the following essay, Kezar maintains that in Julius Caesar Shakespeare explored the potential ‘irresponsibility’ of theater as it appropriates history, subverts audience response, and dismembers self-presentation.

In the following essay, Kezar maintains that in Julius Caesar Shakespeare explored the potential ‘irresponsibility’ of theater as it appropriates history, subverts audience response, and dismembers self-presentation.

Dennis Kezar, Vanderbilt University "The World makes many vntrue Constructions of these Speaches."1

In the essay below, Liebler argues that Shakespeare's reference to the Lupercalian rites in Li is more significant than most critics have assumed, and that in fact the importance of celebrating rites in the traditional manner and the perversion of those rites by the plebeians would probably have resonated with Elizabethan audiences.

In the following essay, Bathory examines the relationship between self-knowledge and politics in Julius Caesar and Coriolanus, and elucidates the affinity between Brutus's self-delusion and the collapse of the Roman Republic.

In the following essay, Bathory examines the relationship between self-knowledge and politics in Julius Caesar and Coriolanus, and elucidates the affinity between Brutus's self-delusion and the collapse of the Roman Republic.

In the following essay, Pelling argues that many of Caesar's battles and maneuvers were too complex to be understood by his intended readers, so that he simplified his accounts accordingly.

In the essay that follows, McAlindon examines the ominous significance of the numbers four and eight in Julius Caesar, and contends that the more alert members of Shakespeare's contemporary audience would have noticed this numerology and would have been aware of the "ironic implications " it has for the characters in the play.

In the following excerpt, Spevack surveys the dramatic structure, themes, and characters of Julius Caesar.

In the following excerpt, Spevack surveys the dramatic structure, themes, and characters of Julius Caesar.

In the following essay, Howe interprets Julius Caesar in terms of Buddhist conceptions of samsara (the endless cycle of worldly life and death) and compassion arising from the acceptance of life as suffering.

In the following essay, Howe interprets Julius Caesar in terms of Buddhist conceptions of samsara (the endless cycle of worldly life and death) and compassion arising from the acceptance of life as suffering.

In the following essay, originally published in 1993, Wilson examines the carnivalesque elements of Julius Caesar.

In the following essay, originally published in 1993, Wilson examines the carnivalesque elements of Julius Caesar.

In the following essay, Yoder characterizes Julius Caesar as a condensed version of Shakespeare's historical tetralogy (Richard II, Henry IV, Parts One and Two, and Henry V). Yoder relates Julius Caesar's Rome to England during the time of the tetralogy and demonstrates how both Shakespeare's Rome and England are plagued by disintegration and the unstoppable progression of power.

In the following essay, Yoder characterizes Julius Caesar as a condensed version of Shakespeare's historical tetralogy (Richard II, Henry IV, Parts One and Two, and Henry V). Yoder relates Julius Caesar's Rome to England during the time of the tetralogy and demonstrates how both Shakespeare's Rome and England are plagued by disintegration and the unstoppable progression of power.

In the following essay, Blits studies the motivations of Brutus, and finds that in his inability to reconcile virtue and political action, Brutus ultimately fails to realize his idealized intentions for Rome.

In the following essay, Blits studies the motivations of Brutus, and finds that in his inability to reconcile virtue and political action, Brutus ultimately fails to realize his idealized intentions for Rome.

In the following essay, Buhler regards the Epicurean skepticism of Cassius in Julius Caesar as it illustrates the play's concern with political materialism.

In the following essay, Buhler regards the Epicurean skepticism of Cassius in Julius Caesar as it illustrates the play's concern with political materialism.

In the following essay, Bellringer maintains that the subject of Julius Caesar is essentially Roman, with no significant Elizabethan or modern parallels.

In the following essay, Bellringer maintains that the subject of Julius Caesar is essentially Roman, with no significant Elizabethan or modern parallels.

In the following essay, Scott considers Shakespeare's ironic treatment of self-knowledge in Julius Caesar.

In the following essay, Scott considers Shakespeare's ironic treatment of self-knowledge in Julius Caesar.

In the following essay, Collins argues that Caesar was a moderate rather than a revolutionary, and that most of his writings should be accepted as truth, not propaganda.

In the following essay, Bradley characterizes Caska (or Casca) as a hypocritical Cynic whose role in the play is nevertheless to expose the weaknesses of Brutus's Stoicism and Cassius's Epicureanism and to point toward the emergence of Christianity.

In the following essay, Velz delineates the combined influence of oratory and command on Roman history in Julius Caesar.

In the following essay, Velz delineates the combined influence of oratory and command on Roman history in Julius Caesar.

In the following essay, Vawter contends that Julius Caesar should be understood as a critique not just of Caesar's tyrannical ambition or the malicious intent of the conspirators, but as a wholesale condemnation of the corrupted Roman nobility for its destruction of natural, communal bonds.

In the following essay, Vawter contends that Julius Caesar should be understood as a critique not just of Caesar's tyrannical ambition or the malicious intent of the conspirators, but as a wholesale condemnation of the corrupted Roman nobility for its destruction of natural, communal bonds.

In the following essay, Rossi contends that Caesar used established rhetorical models and types as a way of leading his readers towards the conclusions he wished them to reach.

In the following essay, Parker suggests that Julius Caesar may be read as a satire of Papal Rome, in which Caesar represents the Antichrist.

In the following essay, Parker suggests that Julius Caesar may be read as a satire of Papal Rome, in which Caesar represents the Antichrist.

In the following essay, originally published in 1991, Girard argues that “Julius Caesar is the play in which the violent essence of the theatre and of human culture itself are revealed.”

In the following essay, originally published in 1991, Girard argues that “Julius Caesar is the play in which the violent essence of the theatre and of human culture itself are revealed.”

In the following excerpt, originally published in 1989, Walch comments on the volatility of historical and linguistic meaning in Julius Caesar, concentrating on the oppositional discursive structure of the drama.

In the following excerpt, originally published in 1989, Walch comments on the volatility of historical and linguistic meaning in Julius Caesar, concentrating on the oppositional discursive structure of the drama.

In the following essay, Marshall discusses Portia's self-wounding and Calphurnia's dream of Caesar's death as they represent the linguistic instability of character in Julius Caesar.

In the following essay, Marshall discusses Portia's self-wounding and Calphurnia's dream of Caesar's death as they represent the linguistic instability of character in Julius Caesar.

In the following essay, originally delivered as a lecture in 1951, Stevens examines instances in De Bello Gallico in which Caesar conceals the truth or interprets events self-servingly.

In the following essay, Wells claims that in Julius Caesar Shakespeare depicted a Machiavellian view of politics and history.

In the following essay, Wells claims that in Julius Caesar Shakespeare depicted a Machiavellian view of politics and history.

In the following essay, originally published in 1983, Nuttall traces the ways in which Shakespeare infused Brutus's character with such abstract qualities as Stoicism, pathos, egotism, shame, and rationalization in order to produce a well-rounded, psychologically distinct character capable of eliciting audience sympathy.

In the following essay, originally published in 1983, Nuttall traces the ways in which Shakespeare infused Brutus's character with such abstract qualities as Stoicism, pathos, egotism, shame, and rationalization in order to produce a well-rounded, psychologically distinct character capable of eliciting audience sympathy.

In the following essay, Bowden describes Brutus as self-righteous and intellectually limited.

In the following essay, Bowden describes Brutus as self-righteous and intellectually limited.

In the following essay, Knights analyzes how Shakespeare contrasted public and private life in Julius Caesar.

In the following essay, Knights analyzes how Shakespeare contrasted public and private life in Julius Caesar.

In the following essay, Maquerlot evaluates Julius Caesar as a Mannerist drama fraught with ambiguity, and contends that Shakespeare constantly altered audience sympathies toward Caesar.

In the following essay, Maquerlot evaluates Julius Caesar as a Mannerist drama fraught with ambiguity, and contends that Shakespeare constantly altered audience sympathies toward Caesar.

In the following essay, Rice contends that Julius Caesar promotes a philosophy of character based upon Renaissance Pyrrhonism, a skeptical philosophical position that underscores the antiheroic, fallible, and incongruous attributes of the play's characters.

In the following essay, Rice contends that Julius Caesar promotes a philosophy of character based upon Renaissance Pyrrhonism, a skeptical philosophical position that underscores the antiheroic, fallible, and incongruous attributes of the play's characters.

In the following essay, Damon explains that, in reading De Bello Civili, it is important to recognize the character traits of the individuals discussed; to understand Caesar's narrative as a Roman would have; to notice repeated events; and to realize that recurrent events can lead to different outcomes.

In the following essay, originally published in 1981, Mack concentrates on the modern view of history presented in Julius Caesar—a conception of history as a process guided principally by nonrational forces rather than by reason, idealism, or conscious human influence.

In the following essay, originally published in 1981, Mack concentrates on the modern view of history presented in Julius Caesar—a conception of history as a process guided principally by nonrational forces rather than by reason, idealism, or conscious human influence.

In the following essay, de Gerenday explores the psychological and thematic significance of Brutus's ritualization of Caesar's murder, and the resulting ambiguity this produces in Julius Caesar.

In the following essay, de Gerenday explores the psychological and thematic significance of Brutus's ritualization of Caesar's murder, and the resulting ambiguity this produces in Julius Caesar.

In the following excerpt, Danson asserts that the murders and suicides touched off by and including the assassination of Caesar are in fact "meaningless " nonrituals and that the play does not achieve its tragic, ritualized status until the death of Brutus.

In the following essay, Willson analyzes Act 3, scene 1 of Julius Caesar—in which Brutus and Antony give their funeral orations to Caesar—and examines Shakespeare's use of metadramatic allusions to the theater and the play's theme of ‘destructive passion.’

In the following essay, Willson analyzes Act 3, scene 1 of Julius Caesar—in which Brutus and Antony give their funeral orations to Caesar—and examines Shakespeare's use of metadramatic allusions to the theater and the play's theme of ‘destructive passion.’

In the essay below, Finkelstein argues against updating Julius Caesar to Mussolini's fascist Italy on grounds that such an update misrepresents the actual social conflict in the play—which occurs between patricians, who are anxious to hold on to power, and Caesar, who is supported by the plebeians in his bid for absolute rule.

In the following essay, Hamer studies the characters of Portia and Calpurnia in Julius Caesar, and examines the ways in which the education of women and the Roman conception of marriage contribute to their fate.

In the following essay, Hamer studies the characters of Portia and Calpurnia in Julius Caesar, and examines the ways in which the education of women and the Roman conception of marriage contribute to their fate.

In the following essay, Levitsky illuminates Brutus's Stoic virtues and contrasts his character with the less admirable Caesar.

In the following essay, Levitsky illuminates Brutus's Stoic virtues and contrasts his character with the less admirable Caesar.

In the following excerpt, originally published in German in 1982, Meier explains how in De Bello Gallico Caesar triumphs by taking the offensive, presenting himself in total control, and purposely avoiding self-justification.

In the following essay, Charney offers an overview of Julius Caesar. The critic examines the way in which Shakespeare compressed historical events, the relation of the play to Shakespeare's English history plays, and the play's treatment of the conflict between public and private life, particularly the way this conflict affects Brutus.

In the following essay, Charney offers an overview of Julius Caesar. The critic examines the way in which Shakespeare compressed historical events, the relation of the play to Shakespeare's English history plays, and the play's treatment of the conflict between public and private life, particularly the way this conflict affects Brutus.

In the following essay, originally published in 1985, Bulman investigates Shakespeare's manipulation of heroic conventions in his depiction of Brutus, Antony, and Caesar.

In the following essay, originally published in 1985, Bulman investigates Shakespeare's manipulation of heroic conventions in his depiction of Brutus, Antony, and Caesar.

In the following review, Miller examines the 1953 MGM film adaptation of Julius Caesar directed by Joseph Mankiewicz. Miller relates the film to aspects of 1950s American culture and argues that at the time the movie was made the United States had succeeded Rome both as a classical republic and as the center of a worldwide empire.

In the following review, Miller examines the 1953 MGM film adaptation of Julius Caesar directed by Joseph Mankiewicz. Miller relates the film to aspects of 1950s American culture and argues that at the time the movie was made the United States had succeeded Rome both as a classical republic and as the center of a worldwide empire.

In the following essay, Chang views Julius Caesar as a demonstration of Shakespeare's historical relativism.

In the following essay, Chang views Julius Caesar as a demonstration of Shakespeare's historical relativism.

Below, Hamer suggests that Caesar's triumph, his assassination, and the imminent destruction of the Roman republic are reflected in the tribunes' anxiety and their subsequent wish to enforce order on the plebeian class.

In the following essay, Taylor regards Julius Caesar as a drama concerned with clashing philosophical perspectives: the Epicurean philosophy of Cassius and the superstitious worldview of Caesar.

In the following essay, Taylor regards Julius Caesar as a drama concerned with clashing philosophical perspectives: the Epicurean philosophy of Cassius and the superstitious worldview of Caesar.

In the following excerpt, Garber observes that the source of the tragedy in Julius Caesar is the repeated and sometimes willful misinterpretation of omens and dreams.

In the following essay, Vaughan looks at Julius Caesar from the point of view of performance, discussing such elements as setting, stage design, casting, and directorial modifications to the play.

In the following excerpt, Berry observes that the importance of class in Julius Caesar is demonstrated by the fact that even though Brutus "is wrong all of the time, " he is nevertheless deferred to and his decisions are respected due to his patrician authority which is based on his noble ancestry.

In the following excerpted review of Laird Williamson's 2003 Oregon Shakespeare Festival production of Julius Caesar, Berlin compliments Williamson's intriguing interpretation of the play, which emphasized Caesar's tyrannical nature and the irresistible power of fate.

In the following excerpted review of Laird Williamson's 2003 Oregon Shakespeare Festival production of Julius Caesar, Berlin compliments Williamson's intriguing interpretation of the play, which emphasized Caesar's tyrannical nature and the irresistible power of fate.

In the following review of Edward Hall's 2002 Royal Shakespeare Company production of Julius Caesar, Johnson decries the cliché of presenting Caesar as a fascist dictator.

In the following review of Edward Hall's 2002 Royal Shakespeare Company production of Julius Caesar, Johnson decries the cliché of presenting Caesar as a fascist dictator.

In the following excerpted review of Barry Edelstein's stage adaptation of Julius Caesar for the New York Shakespeare Festival, Weber finds the production as a whole to be rather unmoving. Additionally, Weber observes that individual performances—with the exception of Jeffrey Wright's commanding interpretation of Marc Antony—focused on obvious overt personality traits rather than internal emotional and psychological struggles.

In the following excerpted review of Barry Edelstein's stage adaptation of Julius Caesar for the New York Shakespeare Festival, Weber finds the production as a whole to be rather unmoving. Additionally, Weber observes that individual performances—with the exception of Jeffrey Wright's commanding interpretation of Marc Antony—focused on obvious overt personality traits rather than internal emotional and psychological struggles.

In the following review, Weber admires director Daniel Sullivan's 2003 production of Julius Caesar staged at the Old Globe Theater in San Diego, particularly its imaginative and politically evocative setting which depicted life after the collapse of the American empire and suggested the destructive legacy imposed by worldly ambition.

In the following review, Weber admires director Daniel Sullivan's 2003 production of Julius Caesar staged at the Old Globe Theater in San Diego, particularly its imaginative and politically evocative setting which depicted life after the collapse of the American empire and suggested the destructive legacy imposed by worldly ambition.

In the following review, Isherwood offers a mixed appraisal of Julius Caesar as directed by Barry Edelstein. Isherwood comments that the production suffered from a failure to create a sense of gravity, and contends that Jeffrey Wright's praiseworthy performance of Marc Antony was the only redeemable aspect of the production.

In the following review, Isherwood offers a mixed appraisal of Julius Caesar as directed by Barry Edelstein. Isherwood comments that the production suffered from a failure to create a sense of gravity, and contends that Jeffrey Wright's praiseworthy performance of Marc Antony was the only redeemable aspect of the production.

In the following excerpted review, Barbour describes Barry Edelstein's production of Julius Caesar as fast paced and “sure-handed.”

In the following excerpted review, Barbour describes Barry Edelstein's production of Julius Caesar as fast paced and “sure-handed.”

In the following review, Carnegy praises Edward Hall's 2001 Royal Shakespeare Company production of Julius Caesar, particularly its portrayal of the conspirators, rather than Caesar, as the greater threat to Rome.

In the following review, Carnegy praises Edward Hall's 2001 Royal Shakespeare Company production of Julius Caesar, particularly its portrayal of the conspirators, rather than Caesar, as the greater threat to Rome.

In the following review of Karin Coonrod's 2003 Theatre for a New Audience production of Julius Caesar, Weber contends that this production's contemporary American setting and anti-conservative political agenda obscured rather than broadened the drama's underlying character conflicts.

In the following review of Karin Coonrod's 2003 Theatre for a New Audience production of Julius Caesar, Weber contends that this production's contemporary American setting and anti-conservative political agenda obscured rather than broadened the drama's underlying character conflicts.

In the following excerpted review of Edward Hall's 2002 Royal Shakespeare Company production of Julius Caesar, Jackson notes that despite Hall's “ruthless” cutting of Shakespeare's text, the director managed an effective staging by balancing ideological allusions with innovative perspectives on character.

In the following excerpted review of Edward Hall's 2002 Royal Shakespeare Company production of Julius Caesar, Jackson notes that despite Hall's “ruthless” cutting of Shakespeare's text, the director managed an effective staging by balancing ideological allusions with innovative perspectives on character.