Bell Work Using a clean sheet of paper, copy down Antony’s funeral speech on pages 132-134 of the text. This will be your biggest extra credit assignment for this quarter, and you will have until this coming Monday to complete it. You must memorize and recite Antony’s funeral speech in the original Shakespearean language. This will be recited in front of the class for 25 points or to Mrs. Thomas privately and by appointment for 20 points.

Julius Caesar Act II

Objective Students will understand the following: The central idea of a text can be developed through the author’s use of rhetoric. The central idea of a text can be developed through the conflicts and interactions between characters.

Let’s Review o What can you infer about Brutus’s state of mind based on lines 1–9? o What does Brutus mean by “It must be by his death” (line 10)? o How does Brutus describe Caesar in lines 20–22 of his soliloquy? How does this description relate to Brutus’s reasons for killing Caesar? o How does Shakespeare use metaphor to show Brutus’s concern about Caesar in lines 22–36 of the soliloquy? o How does the letter Lucius gives to Brutus advance the plot?

o What does Brutus’s response to the letter suggest about Cassius? o What does Brutus’s response to the letter suggest about Brutus’s opinion of himself? o What do Brutus’s reflections in lines 64–93 suggest about his state of mind? o Why does Brutus believe an oath is unnecessary? o How does Brutus’s reluctance to swear an oath relate to the central idea of ethics of honor? o How does Brutus’s monologue develop a central idea in the text? o What is Brutus’s opinion of Mark Antony? How does Shakespeare use figurative language to develop this opinion? o How does Brutus justify the murder of Caesar in lines 175–183? o According to Brutus, what is the difference between “sacrificers” and “butchers” (line 179)?

o How do lines 206–252 develop the conspirators’ view of Caesar’s character? o What does the interaction between Portia and Brutus in lines 253–288 suggest about their relationship? o How do Portia’s references to the “great vow” (line 272) and the “bond of marriage” (line 280) develop a central idea in the text? o How do Portia’s references to her father and husband further develop a central idea? o How does Portia show the “strong proof of [her] constancy” (line 300)? o How do Portia’s gestures of kneeling and wounding herself develop a central idea in the text?

o Why does Calphurnia not want Caesar to go to the Capitol? o What effect do the omens in lines 13–26 create? o How does the statement “[c]owards die many times before their deaths; / The valiant never taste of death but once” (lines 34–35), develop Caesar’s point of view of death and fate? o What do Shakespeare’s specific word choices in lines 66–68 suggest about Caesar’s character? o How does Decius convince Caesar to go to the Capitol? o How does Caesar’s response to Decius develop Caesar’s character? o What effect do Trebonius and Brutus’s asides create in the text? o How does Shakespeare develop Caesar’s character in Act 2.2, lines 1–129? o How do Acts 2.3 and 2.4 advance the plot of the play? o What is Portia’s state of mind in Act 2. Scene 4? How does Shakespeare develop Portia’s state of mind?

Exit Ticket With the people who have numbers matching yours in color, use a clean sheet of paper with a proper MLA heading to respond to the following: What do you think is Brutus’s frame of mind at this point in the plot? Explain your response using evidence from the text.

Act Two, Scene One In Act 2, scene one, lines 10-34 Brutus has a soliloquy that explains his affection and friendship for Caesar as well as his desire to be rid of him for the good of Rome. In this same scene lines 32-24 create a metaphor that compares Caesar to an unhatched snake—he’s not dangerous now, but he will be soon. Lines 45-58 creates a soliloquy that discusses Brutus’ power to take action against Caesar. Lines 61-69 creates a soliloquy that examines Brutus’ friendship with, and desire to be rid of, Caesar.

Act Two, Scene One Lines 77-85 create a soliloquy that examines the question of whether killing Caesar is morally correct. Lines 79-85 create personification that gives the conspiracy a human face. Lines 101-104 create imagery (words used to create pictures) that indicates the time of day. Lines 191-192b is an anachronism because there were no clocks in Ancient Rome.

Act Two, Scene Two In Act 2, scene two, line 19 there is an example of alliteration (using the same beginning sounds in several words—fierce, fiery warriors fight. Lines 30-31 is an example of foreshadowing as Calphurnia says “the heavens themselves blaze forth the death of princes, which is what will happen to Caesar. Lines 124-125 and lines 128-129 are examples of asides (when the character speaks directly to the audience) that remind the audience of the conspiracy.

Act Two, Scene Three Act 2, scene 3, lines 1-14 is a soliloquy that creates suspense by making it clear that Caesar’s fate hinges on Artemedorius’ warning.