Crafting A Character: Brutus from Locrine

You might have read my previous post about Locrine and Humber from that play. Well, today I will continue this series by discussing the other character I play, the mythical founder of Britain, King Brutus.

Brutus of Troy

Now before you ask- NO, THIS IS NOT Marcus Brutus, the man who stabbed Julius Caesar. This Brutus actually lived before said conspirator, around the year 11000 BC. Writers like Geoffrey of Monmouth, writing after the Norman Conquest of England, recorded the story of Brutus as a way of getting the British people on board with a single king uniting all of the kingdoms of England.

According to Monmouth (who clearly had an influence on the writer of Locrine), Brutus was the grandson of Aeneas, the sole survivor of the infamous Trojan War. Like the ancient Greek legends of Perseus or Hercules, Brutus is exiled from Italy for accidentally killing his father, and must then create a new empire in Britain.

Brutus! there lies beyond the Gallic bounds
An island which the western sea surrounds,
By giants once possessed; now few remain
To bar thy entrance, or obstruct thy reign.
To reach that happy shore thy sails employ;
There fate decrees to raise a second Troy,
And found an empire in thy royal line,
Which time shall ne’er destroy, nor bounds confines  – Diana’s speech to Brutus

Historia Regum Britanniae by Geoffrey of Monmouth, c1136

To secure his empire, Brutus must tame the savage giants that rule the untamed wilderness of Britain, in a mythical battle that is still celebrated to this day.

At the beginning of the encounter, Corineus and the giant, standing, front to front, held each other strongly in their arms, and panted aloud for breath, but Goëmagot presently grasping Corineus with all his might, broke three of his ribs, two on his right side and one on his left. At which Corineus, highly enraged, roused up his whole strength, and snatching him upon his shoulders, ran with him, as fast as the weight would allow him, to the next shore, and there getting upon the top of a high rock, hurled down the savage monster into the sea; where falling on the sides of craggy rocks, he was torn to pieces, and coloured the waves with his blood- Monmouth

Function in the Play

  1. Legacy of Troy- As I mentioned before, Brutus establishes the link between ancient Troy, and the founding of Britain.

The island was then called Albion,[9] and inhabited by none but a few giants. Notwithstanding this, the pleasant situation of the places, the plenty of rivers abounding with fish, and the engaging prospect of its woods, made Brutus and his company very desirous to fix their habitation in it. They therefore passed through all the provinces, forced the giants to fly into the caves of the mountains, and divided the country among them according to the directions of their commander. After this they began to till the ground and build houses, so that in a little time the country looked like a place that had been long inhabited. At last Brutus called the island after his own name Britain, and his companions Britons; for by these means he desired to perpetuate the memory of his name.

2. Corineus’ Brother In Arms

Like a lot of characters in Shakespeare’s history plays, Brutus has a loyal second in command, Corineus, the mythical founder of the kingdom of Cornwall. After Brutus dies, Corineus is a sort of Lord Protector, lending his council and military experience to Locrine and his brothers:

The name of their commander was Corineus, a modest man in matters of council, and of great courage and boldness, who, in an encounter with any person, even of gigantic stature, would immediately overthrow him, as if he were a child. When they understood from whom he was descended, they joined company with him and those under his government, who from the name of their leader were afterwards called the Cornish people, and indeed were more serviceable to Brutus than the rest in all his engagements. – Historia Regum Britanniae by Geoffrey of Monmouth, c1136

  1. Patriarch– Brutus’ sons become the first kings of England, (Locrine), Scotland (Albanact), and Wales (Camber).

During these transactions, Brutus had by his wife Ignoge three famous sons, whose names were Locrin, Albanact, and Kamber. These, after their father’s death, which happened in the twenty-fourth year after his arrival, buried him in the city which he had built, and then having divided the kingdom of Britain among them, retired each to his government.

  1. King Lear Right after Brutus’ story in Monmouth’s chronicle comes the ancient story of King Lear, the same story Shakespeare would later adapt into his own play. Like Lear, Brutus has to divide his kingdom, but unlike Lear, he does not try to test his children’s loyalty.

Locrin, the eldest, possessed the middle part of the island, called afterwards from his name, Loegria. Kamber had that part which lies beyond the river Severn, now called Wales, but which was for a long time named Kambria; and hence that people still call themselved in their British tongue Kambri. Albanact, the younger brother, possessed the country he called Albania, now Scotland. After they had a long time reigned in peace together, Humber, king of the Huns, arrived in Albania, and having killed Albanact in battle, forced his people to fly to Locrin for protection.

Our Interpretation

Isaac blesses Jacob

Those who sought to deface our memory,
wipe the name of Trojans from the earth
Those did I captivate with this mine arm.
And in this Isle at length I placed you.
– Locrine, Act I.i

I see Brutus as an intimidating king like Hamlet’s Father (before he became a ghost). I also see him as similar to an Old Testament patriarch like Moses or Isaac- he was led by a god to the promised land, and gave it to his children, who must now protect and defend it.

Oath of the Horatii by Jaques Louis David
  1. Colonizer

On the other hand, one could also see Brutus as a colonizer- he takes land that wasn’t his and overthrows the natural order. This is a dimension that is not explored in the original story, but our version highlights it.

Playing Brutus

  1. Look and physicality– For such a mythic figure, I tried to play Brutus with as much strength and gravity as possible, at least at first. While he is being introduced and fighting giants, I tried to make him a soldier and King in his prime. After a while though, we see Brutus on his death bed, and I play him as frail and shaky; struggling to keep his kingdom together, as he also struggles to stay alive.
  2. As Brutus ages, I had him divest himself of his armor as he divests his kingdom- to CAMBER, he gives his shield. To Albanact, he gives his sword, and to Locrine, he gives his crown.
  1. Verse

It’s interesting that most of Brutus’ lines are in Trochaic, rather than iambic verse, which could be a way to emulate older forms of verse, but I also suspect that it is designed to emphasize Brutus’ commands.

From Troy to Totnes – The Tale of the Brutus Stone

Then now, my son, thy part is on the stage,
For thou must bear the person of a King.
[Puts the Crown on his head.]
Locrine, stand up, and wear the regal Crown,
Cherish and love thy new betrothed wife.
Locrine, Act I.i

Well, there you go, Hope you enjoyed this overview of the play Locrine. If you like this review, you might like to see the show itself. Click here to purchase tickets:

Intro to Locrine

Title page for the 1595 edition of Locrine.

Locrine is an Elizabethan play, first published in 1595, whose author is, sadly, lost to history. The title page says the play was “Newly set forth, corrected, and overseen, by W.S.” As you might expect, scholars and theater practitioners have eagerly tried to prove that this means the play was written, (or at least revised), by Shakespeare. So far, no proof has been found.

“Historical” Context

Notes on the Trojan War

The play is a tragedy based on the founding of Britain. Over 2,000 years ago, a father and his three sons flee the destroyed Troy, tame the wild landscape of England, and become its first kings. After his father’s death, the eldest son, Locrine, must defend his land from barbarian invaders with the help of his brothers.

Semi-mythical characters

Brutus of Troy

Brutus is the patriarch of the Britons who, according to legend, was descended from Aeneas the sole survivor of the infamous Trojan War. Brutus preserves the legacy of Troy by founding a new city in Britain, Troynovant (New Troy), and establishing his three sons as heirs to his kingdom.

Camber, Brutus’ young son

Albanact

Albanact is the great warrior whom Brutus puts in charge of Scotland. He has his hands full defending Britain against the Scithian invaders.

Camber

Camber is given Cambria, (modern day Wales)

Illustration of King Locrine from  the Genealogical Chronicle of the Kings of England to Edward IV (c. 1461)

Locrine is Brutus’ eldest son, and as such he is crowned king over all Britain. According to legend, Locrine changes the capital of England from New Troy, to Locrindom, which then became London.

The Plot

Title page illustration from Locrine, 1709

The prologue

  1. Prologue describes Prometheus’ punishment as a tragedy, and his gift is a blessing. Prometheus also warns that Zeus will be overthrow if he succumbs to his desire for Thetis
  2. Ate the Goddess of revenge introduces the play, making it very clear that this is the fall of the royal house of Brutus.
  3. As the play continues, we see Brutus die, leaving his kingdom to his children

4. Humber is humbled- the villainous emperor Humber tries to conquer Britain. Many battles and many tears ensure

  1. Locrine is conquered- without giving too much away, Locrine is defeated in battle by his former wife, Gwendoline. It’s possible that, since the play was written in the last few years of the Elizabethan era, that the writer of Locrine chose Gwendolyn to be a stand in for Queen Elizabeth herself.
Gwendoline, legendary Queen regent of Britain.

A Senecan Tragedy

Locrine probably isn’t a Shakespearean play- it’s characters communicate mainly in operatic speeches that are full of passionate feelings. Plays like this are called Senecan Tragedies, based on the ancient Roman playwright Seneca.

As I mentioned in my podcast, these speeches are fun to give, but it’s a challenge to deliver them in a way that connects with an audience.

Humber’s monologue from Locrine

Dumb Shows

To illustrate key moments of the play, each act begins with a dumb show, a short pantomime which usually involves some kind of animal. For instance, when Humber defeats Brutus’ son Albanact, there is a dumb show where a crocodile kills a fish, echoing how Humber (who carries a crocodile on his shield), deceived and murdered Albanact.

Our version of Locrine chooses to use puppets instead of real animals, most notably crows and vipers. The Mexican folktales that we intertwine with the text of Locrine mention a beautiful serpent named Kwinim Tsan, which represents the power of nature.

Our team works on the great serpent puppet




Our Interpretation

https://orangemite.org/laviborayelcuervo

La Vibora e Cuervo

Our production, Víbora y cuervo: Locrine and Other Tales, pairs this origin myth with other origin myths to explore their power and purpose in our world. Orangemite.org

Poster for Orange Mite’s 2026 production of Locrine and Other Tales

Well, there you go, Hope you enjoyed this overview of the play Locrine. If you like this review, you might like to see the show itself. Click here to purchase tickets:

https://orangemite.org/laviborayelcuervo

Friday, August 21, 7pm – at DreamWrights, part of the York Fringe Festival


Sunday, August 23, 2pm – at DreamWrights, part of the York Fringe Festival

Sources

https://www.folger.edu/blogs/shakespeare-and-beyond/locrine-play-curious-complicated/

Crafting A Character: Humber from Locrine

I’m pleased to announce that I will be playing Humber, the Scithian Emperor who tried to conquer England, in a very special adaptation of Locrine in August of 2026.

What is Locrine?

Locrine is an Elizabethan play, first published in 1595, whose author is, sadly, lost to history. The play is a mythologized history of the founding of Britain, which the play calls New Troy.

Our Interpretation

Our version of Locrine is a hybrid between the original play, and stories from the indigenous people of Mexico in the huasteca region. Our director chose to reinterpret Humber as an existential threat to the natural world of Mexico- a threat to the people and the environment, who is defeated not just by Locrine’s army, but by the forces of nature themselves.

Myth vs History

Ancient Scithian horse warriors
  1. The Scythian Emperor- Scythia was originally modern day Iran, but many Scithian tribes also lived in places like Ukraine and Russia. They were nomads who primarily used their skills in mounted warfare to conquer regional fifedoms, organized under a single emperor.

Function Within the Play

Ancient golden Scithian belt buckle
  1. Ravisher of Nature- as Humber tries to conquer the people of England, he also destroys the natural world.
  2. Usurper/ Conqueror of the Britains- in our version of Locrine, Humber’s war to conquer Britain is analogous to the European colonizers who fought to dominate America such as the French, the Dutch, and of course, the Spanish.

We are retired with joyful victory. The slaughtered trojans squeltering in their blood, infect the air with their carcasses, and are a prey for every ravenous bird.

Locrine, Act 2 Scene 6


Playing Humber

Right now, I am playing Humber as a narcissist, a man who, at his core, is deeply insecure but tries to overcompensate it by acting like an invincible monarch- one who fills the void in his soul with land, slaves, possessions, and gold. He is good at persuading people and inspiring them to fight for him, but he cares for no one but himself.


High on a bank by Nilus’ boistrous streams,
Fearfully sat the Egyptian Crocodile,
Dreadfully grinding in her sharp long teeth
The broken bowels of a silly fish.
[A crocodile swims across the stage, eating a
fish.]
His back was armed against the dint of spear,
With shields of brass that shined like burnished gold;
And as he stretched forth his cruel paws,
A subtle Adder, creeping closely near,
Thrusting his forked sting into his claws,
Privily shed his poison through his bones.
So Humber, having conquered Albanact,
Doth yield his glory unto Locrine’s sword.
Mark what ensues, and you may easily see,
That all our life is but a Tragedy. –Locrine, Act III prologue.

A snake struggling with an alligator, eventually gets the upper hand, or coil.

In the play, Humber is compared to a fearsome predator- a crocodile, which was actually the sigil  on his shield. I took inspiration from the animal, and used a serpentine physicality when playing him. I also decided to give myself a crocodile smile- I keep my head down, stared my enemies in the eye, and then- struck!

Gloucester’s show
Beguiles him as the mournful crocodile
With sorrow snares relenting passengers- Henry VI, Part II.

Inspirations

From History-

Again, Locrine is not a history play and Humber, as far as we know, was not a real person. Rather than a legitimate chronicle, Locrine is a mythologized history of the founding of Britain. The Scithians never actually invaded Britain, (although some early chronicles claim that the Saxons were descended from them). Our version of Locrine conflates the foundation of Britain with the conquest of America, (specifically the struggle between English colonists and the Spanish conquistadors,) and there is one man who has come to symbolize the ruthless might and lust for gold that the Spanish had in the early conquest of the American continent more than any other Conquistador- Hernan Cortez,  governor of New Spain, and conqueror of the Mexican empire.

Statue of Cortez. Notice the broken Aztec statue under his foot.

We Spaniards know a sickness of the heart that only gold can cure- Hernan Cortez (allegedly)

Cortez was a man of insatiable greed and lust for power. He was born a minor noble with a gift for diplomacy and exceptional courage. He eventually slaughtered thousands of the Mexican people, supplanted their ruler Montezuma, and razed their capital city of Tenochtitlán, rebranding it as Mexico City, capital of the New Spanish empire.

Mural on the Battle of Centla and the conquest of Tabasco, by Homero Magaña Arellano.

Like Humber, Cortez was more of an administrator than a soldier, but nevertheless, he did lead his army successfully against the native people in several key battles, where they used their cavalry and cannons to devastating effect. He also ravished hundreds of Indigenous women who sired his illegitimate children- like our Humber, he lusted for women in addition to gold.

Cortez was careful to appear pious to his soldiers and respectful to the native people he encountered, but this was a calculated act designed to get loyalty and obedience from the people around him. According to his biography, Cortez had a zero-tolerance policy for blasphemy, and told his soldiers to respect the native Mexica. Again, Cortez’s real goal was to keep his men loyal to their “pious” commander and to make the people trust him…while he robbed them blind. Talk about crocodile tears.

Cortez’s victories allowed him to build palaces for himself to rule over the Mexica, as well as a royal charter for himself, and of course, GOLD.

The Spaniards appeared to be much delighted, they seized upon the gold like monkeys, their faces flushed. For clearly their thirst for gold was insatiable; they starved for it; they lusted for it; they wanted to stuff themselves with it as if they were pigs. They went about fingering handling the streamers of gold, passing them back and forth, grabbing them one to the other babbling, talking gibberish among themselves. – Bernardino de Sahagún

In Locrine, Humber is defeated offstage and forced to starve to death in a desert wilderness. To fill in the blanks, I looked at events from Cortez’s life and death. The real Cortez died of dysentary in 1547, but I like to imagine Humber- Cortez being chased away by Locrine’s army, similar to his narrow escape from Tenochtitlán during the famous Noche Triste (30 June – 1 July 1520)

Cortez and his soldiers narrowly escape Tenochtitlán

From Shakespeare-

Shakespeare rarely writes characters who are wholy evil, so for the first three acts, I mainly thought of another Sythian conqueror- Christopher Marlowe’s Tamborlaine. He is not so

much a man as a force of nature, eager to kill, conquer, and take power and riches from the natural world.

The Roman Goddess Fortuna, with her wheel and orb.

In the later acts of Locrine however, Humber is… well humbled ater losing the war, losing his son, and losing his wife. His laments for his son bear a striking resemblance to Titus Andronicus.

Humber speech III, Scene 5, performed by One Woman Shakespeare

Verse

At the end of his life, Humber reverts to a primitive shadow of his former self- Humber is forced to hide in desert caves, and live on berries and roots. His cruel, bitter laments and desire to cast himself into the sea is almost perfect parallel to Shakespeare’s Timon of Athens.

Timon in the cave

What basilisk was hatched in this place,
Where everything consumed is to nought?
What fearful Fury haunts these cursed groves,
Where not a root is left for me to eat?
Hath fell Alecto, with invenomed blasts,
Breathed forth poison in these tender plains?
What, not a root, no fruit, no beast, no bird,
To nourish Humber in this wilderness?
My very entrails burn for want of drink,
These foul accursed groves afford no meat,
The gods, hard-hearted gods, yield me no meat.
Was ever land so fruitless as this land?
Was ever soil so barren as this soil?
No, even the climate of the torrid zone
Brings forth more fruit than this accursed grove

In Conclusion

Humber is a great deal of fun- he’s a cartoon-like villain at first, but after he loses to Locrine, he seems more human, longing to be reunited with his son. Even though he’s not the main character, he has a tragic character’s arc. In short, he’s great to play, and I hope he’ll be great to watch!

Sources

https://lostplays.folger.edu/Estrild

https://orangemite.org/laviborayelcuervo

https://historum.com/t/cort%C3%A9s-and-the-conquest-of-mexico.184401/?utm_source=google&utm_medium=organic

Crafting A Character: Portia (Wife of Brutus

Portia (Or Porcia), was the wife of Marcus Brutus. Many ancient writers emphasize her courage, beauty, and devotion to her husband and Rome. Many painters and illustrators have chosen to depict her as a model of courage and grace.

Porcia, as has been said, was a daughter of Cato, and when Brutus, who was her cousin, took her to wife, she was not a virgin; she was, however, still very young, and had by her deceased husband⁠17 a little son whose name was Bibulus. A small book containing memoirs of Brutus was written by him, and is still extant. 4 Porcia, being of an affectionate nature, fond of her husband, and full of sensible pride, did not try to question her husband about his secrets until she had put herself to the following test. 5 She took a little knife, such as barbers use to cut the finger nails, and after banishing all her attendants from her chamber, made a deep gash in her thigh, so that there was a copious flow of blood, and after a little while violent pains and chills and fever followed from the wound. 6 Seeing that Brutus was disturbed and greatly distressed, in the height of her anguish she spoke to him thus: 7 “Brutus, I am Cato’s daughter, and I was brought into thy house, not, like a mere concubine, to share thy bed and board merely, but to be a partner in thy joys, and a partner in thy troubles. 8 Thou, indeed, art faultless as a husband; but how can I show thee any grateful service if I am to share neither thy secret suffering nor the anxiety which craves a loyal confidant? 9 I know that woman’s nature is thought too weak to  p155 endure a secret; but good rearing and excellent companion­ship go far towards strengthening the character, 10 and it is my happy lot to be both the daughter of Cato and the wife of Brutus. Before this I put less confidence in these advantages, but now I know that I am superior even to pain.” 11 Thus having spoken, she showed him her wound and explained her test; whereupon Brutus, amazed, and lifting his hands to heaven, prayed that he might succeed in his undertaking and thus show himself a worthy husband of Porcia. Then he sought to restore his wife. -Plutarch, Life of Brutus

https://portiacatonis.weebly.com

She tried to conceal her distress, but a certain painting betrayed her, in spite of her noble spirit hitherto. 3 Its subject was Greek, — Andromache bidding farewell to Hector; she was taking from his arms their little son, while her eyes were fixed upon her husband. 4 When Porcia saw this, the image of her own sorrow presented by it caused her to burst into tears, and she would visit it many times a day and weep before it. 5 And when Acilius, one of the friends of Brutus, recited the verses containing Andromache’s words to Hector,

“But, Hector, thou to me art father and honoured mother

And brother; my tender husband, too, art thou,”

Brutus smiled and said: 6 “But I, certainly, have no mind to address Porcia in the words of Hector,

‘Ply loom and distaff and give orders to thy maids,’⁠23

for though her body is not strong enough to perform such heroic tasks as men do, still, in spirit she is valiant in defence of her country, just as we are.” This story is told by Porcia’s son, Bibulus.

https://artsandculture.google.com/asset/portia-and-brutus/qQH7qtdFwf6xeA?hl=en&ms=%7B%22x%22%3A0.5%2C%22y%22%3A0.2668803418803419%2C%22z%22%3A8%2C%22size%22%3A%7B%22width%22%3A2.1891025641025643%2C%22height%22%3A0.6672008547008548%7D%7D

Portia marks a turning point in Shakespeare’s Roman female characters as we we go from more ‘traditional’ female characters, to ones who exemplify masculine virtues. Instead of women being subordinates to men’s affairs and keeping out of religion, politics, and the affairs of Roman society, Portia is a character who demands respect, and to share her husband’s dangers. Some ancient sources suggested possibly Portia might have been the one who inspired Brutus to kill Caesar, (more on that later), but in any case Portia is not a character who is subordinate to men, but who demands to be treated as a Roman citizen.

Playing Portia

Shakespeare on Riots

Today is the Ides o fMarch, a day that history still bewares, because of the infamous day when armed, violent conspirators went to the Senate and attempted to overthrow elected rulers. For obvious reasons, this put me in mind of the heinous actions of another group of conspirators stormed another Senate and tried to overthrow a stable republic.

January 6th, 2021 (which, coincidently, was Twelfth Night, one of my favorite Shakespeare-themed holidays), was a tragedy for multiple reasons. The protestors broke windows, destroyed furniture, defaced statues, broke into both chambers of Congress, and probably would have harmed lawmakers, in a violent protest of both the US presidential election and the Senate vote in Georgia that week.


Let me be clear, this was sedition and treason and everyone involved should be prosecuted to the full extent of the law. Anyone who says otherwise is blatantly attacking our cherished democracy, and spitting in the face of the rule of law. Unfortunately, Republicans in both chambers have been unwilling to condemn their actions for fear of alienating their base. If this is what the Republican party has come to, the party doesn’t deserve the name. A republic protects the right of the people to elect its representatives and dedicates itself to the peaceful transition of power. Left unchallenged, groups like this will bring anarchy and tyranny to our country.

How do I know this? Because it happened before. Shakespeare has long dramatized real historic events where people rise up against their governments (for better or worse). In all cases, whether protesting a famine, a war, or a cruel tyrannical usurper, the riots never accomplish anything except bringing chaos and bloodshed. Sometimes these ignorant rioters are goaded by charismatic powerful figures, but these upper-class characters are only exploiting the rioters, using their violence as a way to get power for themselves. So, let’s examine the language, tactics, and effects of rioters in three of Shakespeare’s plays: Julius Caesar, Henry VI Part III, and Sir Thomas More:

Example 1: Julius Caesar

George Ed Robertson Antony
(c) Hartlepool Museums and Heritage Service; Supplied by The Public Catalogue Foundation

As I covered before in my “Friends, Romans, Countrymen,” post, during Antony’s famous funeral speech, he galvanizes the Roman crowd, first to mourn Caesar, then to revenge his death. How do they do this? By burning the houses of the conspirators and rioting in the street. They even kill a man just because he has the same name as one of the conspirators:

https://www.rsc.org.uk/shakespeare-learning-zone/julius-caesar/story/timeline

What does this violence accomplish? Nothing. Caesar is still dead. Brutus is still alive (though on the run). Antony merely wished to punish Brutus, and get the mob to hate him while he secretly cheats them out of their money. In Act Four, Antony becomes the de facto ruler of Rome because he leveraged his performance at the funeral, and uses his newfound powers to take money away from the citizens that Caesar promised to give them in his will. He manipulated them for his own purposes and duped them for political power.

Example 2: Jack Cade in Henry VI, Part ii.

Henry VI is the only king in English history to be crowned twice, deposed twice, and buried twice (Saccio 91). As the play begins, King Henry has already lost France, lost his mind, and lost the respect of his people. Around 1455, John Hardyng wrote a contrast between Henry’s father and himself. He laments that Henry the Fifth died so soon and then exhorts Henry to keep the quarrelsome lords in his government from warring among themselves.

Withstand, good lord, the outbreak of debates.
And chastise well also the rioters
Who in each shire are now confederates
Against your peace, and all their maintainers
For truly else will fall the fairest flowers
Of your great crown and noble monarchy
Which God defend and keep through his mercy.

(Excerpt from Harding’s Chronicle, English Historical Documents, 274).

Henry’s political ineptness was why Richard of York challenged his claim to the throne. Though Richard had little legal claim as king, he believed himself to be better than Henry.

In Shakespeare’s play Henry VI, Part ii, York tries to get the people’s support by engineering a crisis that he can easily solve. York dupes a man named Jack Cade to start a riot in London and demand that the magistrates crown Cade as the true king.

Biography of Richard, Duke of York, who challenged King Henry VI for his right to be king.

York and Cade start a conspiracy theory that Cade is the true heir to the throne and the royal family suppressed his claim and lied about his identity. Cade starts calling himself John Mortimer, a distant uncle of the king whom York himself admits is long dead:

The Royal National Theater’s production of Henry VI, Parts II, and 7. Jack Cade appears at about the 7-minute mark.
And this fell tempest shall not cease to rage
Until the golden circuit on my head,
Like to the glorious sun's transparent beams,
Do calm the fury of this mad-bred flaw.
And, for a minister of my intent,
I have seduced a headstrong Kentishman,
John Cade of Ashford,
To make commotion, as full well he can,
Under the title of John Mortimer.

Just like Cade and his rebels, the January 6th rioters were motivated by lies and conspiracies designed to crush their faith in their legitimate ruler. Even more disturbing, these rioters are pawns in the master plan of a corrupt political group. York doesn’t care that Cade isn’t the real king; he just wants to use Cade’s violence as an excuse to raise an army, one that he can eventually use against King Henry himself.

15th century woodcut from the War Of the Roses.

Similar to York’s lies and conspiracy-mongering, many Republicans have refused to accept the legitimacy of Joe Biden’s election, and some are actual proponents of Q Anon conspiracies!

A lot of Republicans deserve blame for fanning the flames of rebellion on January 6th, but arguably former President Trump deserves most of the blame. Even Rush Limbaugh admitted that Trump spread a huge amount of conspiracy theories without believing in any of them. He does this because he wants Americans to be afraid of imaginary threats that he claims he can solve. What’s easier to solve than a problem that doesn’t exist? Much like York, Trump tried to hold onto power by pressuring his supporters to pressure the Capital, feeding them lies about election fraud, and a secret democratic Satanic cult. Thus radicalized, they resolved to do what Cade’s mob did: “Kill all the lawyers.” Unfortunately, there are a lot of lawyers in the Senate.

As Dick the Butcher points out, most people don’t actually believe Cade is truly John Mortimer, they are just so angry at the king and the oppressive English government, that they are willing to follow him in a violent mob to take their vengeance upon the monarchy. This is why they try Lord Saye and execute him just for the crime of reading and writing! Similarly, the mob attacking the capital was made up of die-hard conspiracy adherents, and people just angry at the Democratic Party.

https://www.washingtonpost.com/technology/2021/01/20/qanon-trump-era-ends/

Like I said before, Cade and his mob is just a pawn in the machinations of York. Eventually the king’s enforcer, Lord Clifford convinces most of them to abandon Cade, and Cade himself dies a humiliating death- on the run from the law and starving, Cade is murdered by a farmer after trying to steal some food. After Joe Biden became the 46th President, many of the conspiracy group Q-Anon, who had many prominent members in the January 6th riot, began to disbelieve and abandon the conspiracies of the group. However, as this news story shows, some Q-Anon supporters are die-hard adherents and will never abandon their conspiracy theories, and some, like York’s supporters, are being recruited by other extreme groups. Sadly, as York shows, sometimes a riot is a rehearsal for another riot. In Shakespeare’s Henry VI, Part III, York finally amasses an army and challenges the Lancastrians in all-out war. Hopefully, the US government will hunt down and arrest these violent insurrectionists before they have the chance to do the same.

Example 3: Sir Thomas More

In the unfinished play “Sir Thomas More, a racist mob again attempts to attack London. This time they have no political pretenses; they want to lynch immigrants who they believe are taking English jobs. As I said in my “Who Would Shakespeare Vote For?” post, More’s speech is a perfect explanation of why this behavior cheapens and denigrated a country’s image, and weakens its ability to command respect from the rest of the world. Last time I posted a video of Sir Ian McKellen speaking this speech, but this time.. well just watch:

Intro to Coriolanus


Why no Coriolanus?? David Oyelowo is playing him at the National Theatre and it’s the one analysis of Shakespeare you don’t have! Please hurry! I’m seeing it on Friday!

User Noittickles, sent to me today

Well, with a request like that, how can I refuse!

Coriolanus is the only Shakespearean story about Republican Rome, which is to say, before Julius Caesar turned Rome into a dictatorship. The play has been called pro-democracy, pro-monarchy, fascist, Marxist, and many other things. In some ways, the play is rather simple and its verse isn’t much fun to read, but the questions it poses, and the way Coriolanus shows the clash between power and common people, makes it fascinating to think about.

The play’s title character is also the most opaque one Shakespeare ever wrote. Some say he is a war hero, undone by the mob. Some say he is a want-to-be dictator who hates the common people and wants to keep power among the military elite. Unlike Hamlet, Macbeth, or any of Shakespeare’s other tragic heroes, we never get a sense of his true intent, or his actual feelings on anything. 

To illustrate this, let’s look at two very different interpretations of the same speech. In Act III, Scene iii, the tribunes (representatives of the commons in the Senate), have organized a smear campaign to prevent Coriolanus from becoming Consul, (the highest rank a Roman aristocrat could achieve before Emperor Augustus). Coriolanus is furious at the Tribunes, and vows to leave Rome to take his revenge on the city. Here’s the text of the speech:

Coriolanus. You common cry of curs! whose breath I hate
As reek o' the rotten fens, whose loves I prize
As the dead carcasses of unburied men
That do corrupt my air, I banish you;
And here remain with your uncertainty!
Let every feeble rumour shake your hearts!
Your enemies, with nodding of their plumes,
Fan you into despair! Have the power still
To banish your defenders; till at length
Your ignorance, which finds not till it feels,
Making not reservation of yourselves,
Still your own foes, deliver you as most
Abated captives to some nation
That won you without blows! Despising,
For you, the city, thus I turn my back:
There is a world elsewhere.
[Exeunt CORIOLANUS, COMINIUS, MENENIUS, Senators,]
and Patricians]
Aedile. The people's enemy is gone, is gone!
Citizens. Our enemy is banish'd! he is gone! Hoo! hoo!

In the first speech, Tom Huddleston plays Coriolanus as a heroic soldier, disgusted and hurt by the lies of the scheming  Tribunes:

Hiddleston chose to play Coriolanus not as a villain but as a frustrated demagogue- someone who wants to lead his people to greatness, whether they like it or not. Whether you approve of his methods, Hiddleston’s Caius Martius does care about the good of Rome. You can almost see the tears in his eyes as he leaves the city he loves, the city he bled for, and that has now betrayed him.

By Contrast, Ralph Fiennes takes a much more authoritarian and cruel route in the film Coriolanus, which Fiennes also directed:

Youtube critic Kyle Kallgren made the excellent case that Fiennes’ Coriolanus is first and foremost, a soldier. You could argue that perhaps Coriolanus has no political ambition whatsoever; he merely wants to keep fighting because war is all he knows. Maybe he purposefully sabotaged himself during his campaign for Consul, because all he wishes to rule is the battlefield:

Kalgren also highlights the “proto fascist” parts of Fiennes’ performance, since Fiennes himself has played Nazis, serial killers, and of course, Lord Voldemort, who is essentially a fascist dictator. Like Merchant of Venice, the Nazi party used Coriolanus as a propaganda tool, claiming that Caius’ fall from grace showed the failure of a weak democracy:

The poet deals with the problem of the people and its leader, he depicts the true nature of the leader in contrast to the aimless masses; he shows a people led in a false manner, a false democracy, whose exponents yield to the wishes of the people for egotistical reasons. Above these weaklings towers the figure of the true hero and leader, Coriolanus, who would like to guide the deceived people to its health in the same way as, in our days, Adolf Hitler would do with our beloved German Fatherland.

Martin Brunkhorst, “Shakespeare’s Coriolanus in Deutscher Bearbeitung. Quoted from Weida

It makes sense that fascists would gravitate towards a play about a seemingly virtuous Roman military leader. After all, the word “fascism” is an Italian word, coined by Benito Mussolini, to evoke the glory days of the Roman Empire- days when Roman society was based on military conquest under a strong leader. What these fascists fail to recognize is that Coriolanus is not a strong leader- he hates politics and is unable to gain any support from the people or from the elites in power. His inability to “play the game” of Roman politics, does make him appealing to some, but on the whole, his career is a disaster.

Some have chosen to interpret the story of Coriolanus as a sort of action-movie wish fulfillment- a man in a lawless society who uses his fists rather than words. Back in the 1990s, Steve Bannon (former advisor to President Donald Trump), wrote a hip-hop musical called: The Thing I Am, which re-interpreted the story of Coriolanus as a police captain who is trying to clean up downtown LA, which is embroiled in gang warfare. I find this interpretation paper-thin and not at all conducive to the spirit of the original play. It also has very racist and paternalistic undertones. You can read my review of it here:

Coriolanus Today

https://www.nationaltheatre.org.uk/productions/coriolanus/

Shakespeare refuses to be prescriptive on political or social issues. He tries to represent all sides of an issue and let the audience decide. With the rise of neo-fascist movements, sectarian violence, and the persistent questions surrounding police and military forces, Coriolanus is more relevant than ever. I haven’t seen this production at the National Theater, but I hope it calls attention to the various angles and points of view of the play- Coriolanus the war hero, Coriolanus the traitor, Coriolanus the soldier, Coriolanus the would-be-dictator. David Oyelowo is a fantastic Shakespearean actor, so I’m sure he can bring a great deal of complexity and nuance to this complicated man.

What I find interesting is that the trailer chooses to use this speech, when Coriolanus has defected to Rome’s enemies, the Volskies. He seems sorrowful, desperate, and afraid of what the Volskies will do to him, now that he is in their camp. One line that Oyelowo delivered exceptionally well was the line “Only the name remains.” I haven’t seen the whole play, but it seems THIS Coriolanus is concerned with the glory of his name living after him. The final question this play asks is, for such a complicated man, how will Coriolanus be remembered?

Well, there you go, Stopittickles! Hope you enjoyed this overview of the play Coriolanus. If you like this review, you might like to sign up for my online class on Julius Caesar via outschool.com:

Click here to sign up and get a $5 discount: https://outschool.com/teachers/The-Shakespearean-Student

Great Classes for the Month of June!

Scan the QR code to see my list of classes.

Great online classes in Shakespeare and science are available for students all this month at Outschool.com.

Special Promo: LIMITED TIME ONLY!

From now until June 1st, you can get a $20 discount with referral code PAULHT20. Share the joy with other curious minds in the family too! Spread the word and let’s ignite the passion for learning together!

Class Descriptions

Live Classes

For these classes you meet with me live over Zoom:

Introduction to Shakespeare- Tuesdays 9-9:30AM (EST)

This is my 30 minute short and sweet intro to Shakespeare’s life, his plays, and why his work still matters to us today!

Intro To STage Combat (With SwordS)- Tuesdays 9:30-10AM (EST)-

Like the Intro to Shakespeare class above, this is an intro to the basic footwork, attacks, and defensive parries of swordplays for someone just begeinning to learn about swords.

Title image for my online course on “Romeo and Juliet.”

An Immersive Guide To “Romeo and Juliet- Tuesdays from 10-11AM (EST)

This multi-week course delves into the plot, characters and themes of “Romeo and Juliet,” while also providing interactive activities, virtual tours, and webquests.

Stage Combat Course (Multi Week Course) Saturdays 3-4PM (EST)

Shakespeare’s History Plays- SaturdAYs 8:30 AM IST

This is a new course I’m working on to cover all of Shakespeare’s History plays including Henry V, Richard II, and Richard III. More info as it becomes available.

Asynchronous Classes

These classes are Flex Schedule, which means the teacher prepares the activities in advance and allows you to do them at your own pace without direct consultation.

  1. An Interactive Guide To: “Macbeth”

2. An Immersive Guide to Shakespeare’s London: A virtual tour of Shakespeare’s London will get kids to interact with the culture of Elizabethan England. https://outschool.com/classes/an-interactive-guide-to-shakespeares-london-E6KqeBQQ?usid=MaRDyJ13&signup=true&utm_campaign=share_activity_link

3. The Violent Rhetoric of “Julius Caesar”

Delve into the passionate speeches of Brutus and Antony in Shakespeare’s Julius Caesar, which led a whole country to revolution.

4. Gravity Falls: Defeat the Cypher

https://outschool.com/classes/gravity-falls-inspired-game-crack-the-codes-and-beat-the-cypher-IvpT5sea

Title of my Outschool murder mystery game

5. Romeo and Juliet Murder Mystery

A flexible schedule class that teaches kids the plot and characters of “Romeo and Juliet,” in the context of a detective story where you solve the mystery of the young lovers’ deaths.

6. Shakespeare and Star Wars:

Did you know that Star Wars is based on the ideas and writings of William Shakespeare? This class will teach you about writing and characters though games, interactive activities and dramatic readings of both Star Wars and Shakespeare!

BUT WAIT! There’s MORE

Get $10 off my multi-week classes, including “An Interactive Guide to Shakespeare’s “Macbeth” ” with coupon code HTHES3HDTO10 until Aug 4, 2024. Get started at https://outschool.com/classes/an-interactive-guide-to-shakespeares-macbeth-jp7TIh9B and enter the coupon code at checkout.

Click the link below to get started:

Review: “Star Wars-  the Jedi Doth Return .” by Ian Doescher

Introduction

What Is William Shakespeare’s Star Wars?

William Shakespeare’s Star Wars is a series of parody plays written by Ian Doescher that takes the prose screenplays of the Star Wars story and transforms them into Elizabethan verse. Last time I mentioned how much I loved the cheeky references to Shakespeare and Star Wars, and how Doescher adapts the cinematic quality into Elizabethan drama very well. In my podcast, I also emphasized the way Doescher gives each character verbose Shakespearean language that works very well for radio and theater:

https://spotifyanchor-web.app.link/e/8e9Q3GmMjzb

I must confess, Return of the Jedi is my favorite Star Wars movie. I’ve seen all 9 films and it’s still my favorite. I adore the effects, the tight storytelling, the emotional farewells, and the dramatic victories. What I want to do with this post, (and the accompanying podcast), is to see whether this edition captures what I love about Jedi. The short answer is- no. It doesn’t capture it, IT EXPANDS IT! In many ways this play is Doescher’s triumph- he manages to capture the tone and characters of Star Wars perfectly, and makes the Shakespearean style his own!

Notes about the play

  1. The first play in the series, Verily, A New Hope,” took plot and structure inspiration from Henry V; it tells the story as an epic heroic story of Luke’s heroic deeds, much like how Henry V is about a king who grows from boy to man.
  2. The second play “The Empire Striketh Back,” takes inspiration from Hamlet and Macbeth to explore Luke’s temptation by the Dark Side of the Force. It also uses Much Ado About Nothing as an inspiration for the burgeoning relationship between Han and Leia
  3. I would argue that “Jedi Doth Return” is a mixture of all the other plays Doescher took inspiration from. Unlike the previous plays, this feels less like a parody, and more like an adaptation. I feel that Doescher has finally become so comfortable writing in the Shakespearean style, that he rarely needs to flat out parody lines and speeches, and simply uses Shakespearean dialogue to tell the story.

Moments to Watch for:

The Language

I’ll discuss the language of Jedi in greater detail in my podcast, but I’d like to highlight one or two here.

Extended metaphors:


Vader: It is the role I play, my destiny—
The grand performance for which I am made.
Come, author of the dark side of the Force,
Make me the servant of thy quill and write
The tale wherein my son and I are seal’d As one.
Come, take mine ev’ry doubt from me,
And fashion from my heart of flesh and wires
A perfect actor: callous, cold, and harsh.
Let this, the second Death Star, be the stage,
And all the galaxy be setting to
The greatest moment of my narrative:

The scene in which the Empire’s fight is won
Whilst I decide the Fate of mine own son
- The Jedi Doth Return Act I, Scene i

3. Parody Lines

The biggest appeal of William Shakespeare’s Star Wars is the fact that it is a parody, and I’ve said for many years that parody and gentle riffing on Shakespeare is a great way to get students to overcome their fear of Shakespeare and engage with him. Students who know Star Wars but don’t know Shakespeare will recognize the familiar characters and plots of the movies and then see how Shakespeare’s language tells the story anew. Similarly, people who know Shakespeare will recognize the way Doescher re-tools famous Shakespeare quotes to give to characters in the Star Wars Universe, like here, where he spoofs the famous “All the World’s A Stage” speech:

In the Educator’s guide, which I’ve attached below, Doescher tells you exactly which lines he has parodied and the plots of the original plays so the students can learn about Shakespeare through these famous speeches. Orson Wells once said: “We sit through Shakespeare to recognize the quotations,” and this edition gives us thrilling space battle, wonderful characters, and witty dialogue to keep us entertained while we wait.

Characterizations

What I love the most about the movie and the play is that it’s a very character-driven story. Instead of long trench runs with pilots we’ve never met, we get duels to the death between characters we’ve known for years. At its heart, Jedi is the story of the Skywalker family reuniting after Darth Vader ripped it apart. It’s also the culmination of Luke growing from a boy to a man. Doescher does an incredible job voicing these characters through the verse, and his use of the language helps highlight each character’s struggle and journey.

Luke/ Vader

Left- production photo of Mark Hamil holding a skull Yorrick-style. Right- AI art I created of Luke as Hamlet.

Luke has more of a duality in this story- sometimes his speeches are hopeful, positive, and full of decisive language, while other times he is bitter, angry, and mournful. This is a perfect characterization for a young man whom the Emperor hopes to turn to the Dark Side, and these speeches excellently bring out his character. Sometimes Luke even repeats lines spoken by Vader and the Emperor just to drive this point home.

Emperor

A speech from “Jedi Doth Return.” Notice how the ideas run on past the ends of lines and how long each sentence is

As for Emperor Palpatine, his speech is similar to Claudius in Hamlet in the sense that he has many run-on lines that only get to the point at the very end. This man knows he has the ear of the entire galaxy, so he can afford to make people wait for him to finish talking. As Luke himself says: “Your overconfidence is your weakness,” and Doescher does a great job conveying that weakness through the language.

Leia/ Han

My favorite part of The Empire Striketh Back was how Doescher conveys the love between Han and Leia. In that play/ movie, it was done through irritating each other in public, and soliloquizing in private. In Jedi, Han and Leia are more of a couple, supporting each other in their fights and the language has more of a romantic tone.

Han (Hal Jourdan) and Leia (Janine Ashley) finally confess their love in this scene.

My Criticism

To sum up, Jedi is a milestone in the William Shakespeare’s Star Wars Series where Ian Doescher learned how to make the language his own, rather than borrowing lines and phrases from Shakespeare. It’s a pity there aren’t more books in this series…. right?

Doescher’s official website.

The Education Guide

Support My podcast

If you enjoyed the accompanying podcast episode to this post, please consider subscribing and donating to help me continue making fun and educational content like this!

New Class: The Violent Rhetoric Of “Julius Caesar” (Flex Schedule Edition)

Course Description

  1. Concept: To explore the plot, characters, and themes of Shakespeare’s Julius Caesar while also gaining an insight into Ancient Roman history and culture.
  2. Student Description: Delve into the passionate speeches of Brutus and Antony in Shakespeare’s Julius Caesar, which led a whole country to revolution.
  3. Parent Description  Using self-paced online activities, and a helpful handout, your child(ren) will analyze the rhetoric and persuasive power in two speeches from Shakespeare’s “Julius Caesar.” The course will also cover the culture of Ancient Rome, and the circumstances that led to Julius Caesar’s assasination, which inadvertently led to the birth of the Roman Empire.
  4. Course Organizaiton (the class is divided into 4 parts that students can complete at their own pace over a week-long period
    1. Each lesson will have:
      1. “That Is the Question” (Essential Question)
      2. Lesson Objectives
      3. Set the Scene (Background and context)- 1-3 slides
      4. The Players (biography) 1-3 slides
      5. Go Deeper (Webquest)
        1. Explore military life and the lives of women in Rome using my blog and other websites as a guide.
        2. Post 3 things you learned to the Outschool page or send a photo of your completed handout.
      6. Words, Words Words (Vocabulary, famous lines) 
      7. A Taste of Your Quality (Independant Project)
      8. Show us your mettle (Test)
    2. So each class should be 14-15 slides long.

Outline

Class I- Background on Caesar and Roman Culture

  1. That is the Question: 
    1. Why did Brutus feel Julius Caesar had to die?
    2. What was the aftermath?
    3. Can one person’s speech effect an entire nation?
  2. Lesson Objectives
    1. To provide historical and political context to explain why Julius Caesar was assassinated, and how his death inadvertantly created the Roman Empire.
    2. To explain the Rhetorical Triangle, the building blocks of persuasive speech.
    3. To go through the story of Julius Caesar focusing on the effect of the speeches.
    4. To study the  famous “Friends, Romans Countrymen” speech.
    5. To contrast this speech with some more recent political speeches and you think critically about:
      1. What does the speaker want?
      2. What tactics does he use?
      3. How effective is it?
  3. Set the Scene
    1. History
      1. Government
        1. Horrible History
      2. Military
        1. https://www.livescience.com/ancient-roman-spike-defenses-made-famous-by-julius-caesar-found-in-germany 
        2. Caesar Cipher
        3. https://kids.kiddle.co/Julian_calendar 
    2. Culture
      1. Fashion: https://shakespeareanstudent.com/2022/03/11/the-fashion-is-the-fashion-ancient-roman-fashion-and-beauty/ 
      2. Role of Women: https://shakespeareanstudent.com/2021/03/29/i-lift-the-veil-on-shakespeares-celebrated-roman-female-characters-and-discuss-the-social-norms-they-embodied-and-challenged/ 
      3. The Lupercal- https://wordpress.com/post/shakespeareanstudent.com/4545 
  4. The Players (slides)
    1. Julius Caesar Julius Caesar – Greatest Conqueror Ever?
    2. Cassius Longinus
    3. Marcus Brutus
    4. Marc Antony
  5. Go Deeper- 
    1. Go to Google Arts and Culture and find 3 facts and 3 pictures of Caesar
    2. Answer the following Questions:
      1. Name 3 jobs Caesar had in the Roman Republic
      2. Was Caesar Deaf? Was he epileptic? 
      3. Name 3 things Caesar accomplished during his career.

Go to opensourceshakespeare.com and look at Caesar’s lines- how does Caesar view himself? Write 3 examples.

  1. Words Words Words
    1. Republic
    2. Dictator
    3. Lupercal
    4. Assassinate
    5. Senate
  2. A Taste Of Your Quality
    1. Make a news headline about Caesar’s triumph. How would you report on it? Would you be allowed to say anything bad about Caesar?
  3. Show Us Your Mettle
    1. Quizlet for the terms

Class 2- Cassius Manipulates Brutus

HC Selous Illustration, "Brutus and Cassius" 1830

That Is the Question- 

How does Cassius convince his brother-in-law Brutus to betray and assassinate Caesar, his friend and colleague?

Learning Objectives-

  1. To give historical context as to why the Senate in general, (and Cassius in particular), feared and hated Caesar.
  2. To examine Brutus’ character
  3. To demonstrate how Cassius uses persuasive speech 

Setting the Scene- The Plot

The Players-

Cassius- slide/ https://www.rsc.org.uk/shakespeare-learning-zone/julius-caesar/character/whos-who 

Write 3 facts we learn about Cassius at the start of the play:

Brutus:  

https://www.rsc.org.uk/shakespeare-learning-zone/julius-caesar/character/whos-who

Go Deeper- 

Brutus- Podcast episode. I posit in this episode that Brutus is 

Words, Words, Words- 

  1. Traitor
  2. Republic
  3. Dictator
  4. Revolution
  5. Ethos
  6. Pathos
  7. Logos
  8. Rhetoric
  9. Colossus
  10.  Aeneus

A Taste Of Your Quality: 

(Independent work): We’ll examine a painting of Brutus’ ancestor Lucius and learn why Brutus values Rome more than even family.

Show Us Your Mettle: 

Quizzes on Brutus

Class 3- Antony and Brutus’ Dueling Speeches

George Ed Robertson Antony
(c) Hartlepool Museums and Heritage Service; Supplied by The Public Catalogue Foundation

That Is the Question

  1. After Caesar’s Death, his friend Marc Antony held a funeral for him where he gives the famous “Friends, Romans, Countrymen” speech. How did Antony’s speech affect the crowd?
  2. Brutus has a speech where he explains why he killed Caesar. What does he say, and how effectively does he say it?
  3. Antony was secretly plotting to take power for himself, and get Brutus and Cassius killed. How did he do it?
  4. Do speeches have the power to change a nation?

Learning Objectives

  1. To explain the Rhetorical Triangle, the building blocks of persuasive speech.
  2. To study the famous “Friends, Romans Countrymen” speech, as well 
  3. To look at these speeches and get you to think critically about:
    1. What does the speaker want?
    2. What tactics does he use?
    3. How effective is it?

Setting the Scene

RSC Learning Zone- Act III, Scene 2 https://www.rsc.org.uk/shakespeare-learning-zone/julius-caesar/story/scene-by-scene

The Players (use the videos from the RSC)

Brutus- Man of Honour VS Man of Action | Julius Caesar | Royal Shakespeare Company

Antony Julius Caesar, Act 3 Scene 2 | 2012 | Royal Shakespeare Company

Go Deeper

Words, Words, Words

  • Irony
  • Antimetabole
  • Rhetoric
  • Countrymen
  • Lend
  • Interred
  • Noble
  • Hath
  • Grievous
  • Coffer
  • Honorable
  • Lupercal
  • Cause
  • Mourn

A Taste Of Your Quality

  • Watch the video of Antony’s speech:

Quizzes

Class 4- After Caesar-

We’ll talk about the consequences of violent revolutions and how Julius Caesar has inspired some of the greatest speeches in political history.

-Patrick Henry

– Gettysburg Address

– Mean Girls

That Is the Question

  1. How have people interpreted the play “Julius Caesar” in America?
  2. Does this play promote violence?
  3. What kind of violent speech do we deal with in politics today?

Learning Objectives

  1. To show the link between American History and Julius Caesar
  2. To address the controversy and the misconception that the play promotes violent assassination.
  3. To end on a cautionary note people must think critically about what they hear in politics and not make rash decisions based on appeals to fear.

Setting the Scene- US History

  • America was founded using the principles of republican government that Ancient Rome used- with a senate, and a series of checks and balances to ensure no one has too much power.
  • America was founded in a violent revolution, and some of our country’s early leaders used Brutus as an inspiration- to overcome a tyrannical king.
  • In later years, however, some people have forgotten what happened to Brutus
  •  Today, we are often bombarded with speech that encourages fear and anger and we must think critically when we hear such speech in whatever forum- Roman, or Reddit.

The Players (use my JC lecture?)

  • Patrick Henry
  • Abraham Lincoln
  • John Wilkes Booth
  • Donald Trump

Go Deeper

-Watch the Caesar Video

– How does the play promote nonviolence?

– How did Brutus’ assassination fail to save the Roman Republic?

Words, Words, Words

Four-score

Dedicate

proposition

Civil War

Endure

Consecrate

Devotion

A Taste Of Your Quality (Night Cafe)

  • Use AI to create your own image for Julius Caesar
    • What time and place would you set the play in?
    • how do you see him- is he a hero, or a tyrant? 

https://outschool.com/classes/the-violent-rhetoric-of-julius-caesar-flex-schedule-edition-fwB3cwQM?refuid=MaRDyJ13