Julius Caesar Act 1.2.215-319
Posted by The Bard on 7 December 2007
This section of 1.2 divides into three sub-scenes that again reflect Shakespeare’s careful dramaturgy; the first sub-scene has 3 people in it, the second two, and the third just one person. Not a “big deal” some might say; in fact, this arrangement is a reflection of how a conspiracy often begins, and this very early stage of the conspiracy is signalled by Casca’s opening line “You pulled me by the cloak. Would you speak with me?” Cloaks are a “clothing symbol/image” of conspiracy–when have conspirators not worn them, although of course they were also a natural part of clothing (always hiding to a degree what is underneath). Speaking is also, again obviously, a part of conspiracy, but also of everyday life. (Like much in Shakespeare, it is how a thing or things are viewed that its/their purpose become clear–unlike this explanation so far!!). It should be emphasized that the “conspiracy” is in but its infancy at this stage.
Casca brings news of “what hath chanced to-day,” namely Caesar being offered the crown three times, significantly by Mark Antony, his protege. Again it is worth noting Shakespeare’s dramatic technique here. Instead of attempting to stage a large “crowd scene” with its attendant difficulties, the whole scene is reported by Casca. And by allowing Casca to so report it, Casca is able to put his own gloss on the events, rather than leaving an audience to judge for itself the events it witnesses. Thus the audience hearing Casca’s account is both subliminally influenced by Casca’s account but also learns a little more of Casca’s position and character. One small example will suffice. In describing the cheers, Casca says how the “rabblement hooted, and clapped their chopt hands.” His word choice is clearly derogatory towards the crowd; the event could have been described either neutrally or favorably (towards the crowd and/or Caesar). Thus, in little, is Casca’s own position established, as is his opinion of Caesar in detailing how (and by implication why) he fell down in a swoon and subsequently “offered them his throat to cut”–a form of crowd manipulation that affected at least “three or four wenches” who “cried ‘Alas, poor soul!’”
Brutus and Cassius alone (292-303) permits them to comment on Casca (whose ultimate importance will become clear later on), and Cassius’s final soliloquy (305-19) allows him to focus of the “noble” Brutus, and how he must be seduced. And how is Brutus to be seduced? Not by rational argument, but by false “writings” (purportedly from several people) thrown in through his window at night.
