Cassius uses manipulation and appeals to Brutus’ sense of honor to persuade him to join the conspiracy against Julius Caesar. He exploits Brutus’ fear that Caesar’s rise to power will endanger Rome’s republic and uses forged letters to suggest widespread support for Caesar’s assassination. In the “seduction scene” of Act I, Scene 2, Cassius speaks with Brutus to enlist him in the conspiracy to assassinate Julius Caesar.
Cassius convinces Brutus to join the conspiracy by appealing to his honor and convincing him that Julius Caesar is not worthy of ruling Rome. In act 1, scene 2, Casca tells him that when Caesar perceived that the people were glad he’d refused the crown, he asked Casca to cut his throat. When he recovered from his swoon, he said that his.
Cassius and Casca agree to confront Brutus at his house and win him over to the conspiracy, confident that he’s nearly persuaded already. The conspirators move.
Casca joins the conspiracy because Cassius uses various means to manipulate his emotions and was the fist to stab Caesar. He uses his superstitious nature to convince him to join the conspiracy because the Gods want him to join. When Cassius raises the question of inviting Cicero into the conspiracy, Brutus persuades the conspirators to exclude Cicero from the conspiracy.
Casca is being used as a representative of all the men Cassius is trying to draw into his plot against Caesar. He takes control of the conspiracy by providing his own garden as the conspirators’ meeting place and convincing the gathered men not to work with him in opposing Caesar. When Cinna, another conspirator, joins them, Cassius urges him to throw a message through Brutus’ window and…
📹 The fault is not in our stars | Julius Caesar | Act 1 Scene 2 | Shakespeare’s Globe
‘The fault, dear Brutus, is not in our stars But in ourselves, that we are underlings.’ Cassius (Anthony Howell) voices his concerns …
How does Cassius manipulate casca?
In William Shakespeare’s play, The Tragedy of Julius Caesar, Brutus, a stoic man and Caesar’s best friend, uses rhetorical appeals such as “Antithesis” and “Epimone” to manipulate the audience. He believes Caesar is ambitious and slews him for Rome, using mob mentality to avoid making the Romans think he killed Caesar for the throne. Brutus values reason above emotion and uses “Antithesis” and “Epimone” to compare his love of Caesar and Rome.
Brutus uses pathos to evoke the feeling of being loved from the plebeians, logos to convince Cassius of his superior military plan, and ethos to establish trust with the commoners. His appeal to pathos is intended to extract the most powerful feeling in the world: love. In his funeral speech, Brutus asks the audience who doesn’t love their country enough to make it better, as disagreement with his views would be seen as a lack of genuine care for Rome and the people there. By using pathos, Brutus was able to pull on the audience’s emotions and make his speech more impactful.
Why does Cassius ask Casca to be sudden?
In Act 3, Scene 1, Cassius and Cinna express concern about the possibility of prevention and anticipate that Casca will comply with their instructions. Furthermore, they anticipate that Casca will not inquire about the orders, given that he has been assigned to them.
Who does Cassius attempt to convince to join the conspiracy in Act 2 Scene 1?
Brutus Cassius and others convince Brutus to join a conspiracy to kill Caesar. Caesar plans to stay home on the day of the assassination, but Decius Brutus persuades him to go to the Senate with the other conspirators and his friend Mark Antony. Brutus anxiously ponders joining the conspiracy but decides to act when he finds one of the unsigned letters left for him. He agrees to join the conspirators but rejects their plan to kill Mark Antony as well.
Brutus’s wife, Portia, asks him an explanation for his sudden change of mood. Brutus, along with Caius Ligarius, departs for Caesar’s. Lucius, a general, asks Brutus to call him when it is lighted, and he agrees. Caesar exits, and Brutus believes it must be by his death. He knows no personal cause to spurn at Caesar, but for the general’s crown, which might change his nature. He grants them to put a sting in Caesar that at his will he may do danger with.
Why did Casca join the conspiracy?
Casca meets Cicero, who describes the marvels visible in the streets that night and suggests that these foretell important events to come. After Cicero leaves, Cassius arrives to persuade Casca to join the conspiracy to liberate Rome from Caesar’s kingship. When Cinna joins them, Cassius sends him to leave letters where Brutus may find them and be persuaded that his opposition to Caesar is desired by many.
Casca is breathless and stares at Caesar, wondering why he is so moved. He has seen tempests, civil strife in heaven, or the world being too saucy with the gods to send destruction. Cicero mentions a common slave holding up his left hand that burned like twenty torches joined, and a lion glancing upon him without annoying him. He also mentions a hundred ghastly women transformed with fear, who swore they saw men all in fire walk up and down the streets.
Cicero believes that these prodigies are natural and portentous, as they point to the climate they point upon. He concludes that it is a strange-disposèd time, but men may construe things after their fashion. Caesar comes to the Capitol tomorrow, as he did bid Antonius to send word to him. He leaves, leaving the sky disturbed and Cicero exiting.
How does Cassius persuade Brutus in Act 1 Scene 2?
Cassius discloses that Caesar is mortal and thus susceptible to the frailties inherent to humanity. He is so averse to this fate that he would rather die than become Caesar’s subordinate. Additionally, he recalls to Brutus the noble lineage and the expectations of his fellow Romans that he serve his country.
What role does Casca play in the conspiracy?
Cassius bears witness to Caesar’s endeavors to influence the Roman populace to bestow upon him the crown. He subsequently conveys this failure to Brutus and Cassius. He becomes a conspirator the night before the assassination and is the first to stab Caesar.
What is Cassius trying to do in Act 1 Scene 2?
Cassius’s objective is to depose Caesar and to secure Brutus’s endorsement of his plan of action. Brutus acknowledges that he is torn between his affection for Caesar and his allegiance to the republican cause, and he pledges to rethink his assertions.
How is Cassius a manipulator?
Cassius employs a strategy of manipulation, appealing to Brutus’s sense of honor, nobility, and pride. This is achieved through the use of written correspondence, which presents itself as correspondence from Roman citizens, and is sent to Brutus with the intention of persuading him to align with the plan that Cassius has devised.
What is Cassius main objective in Act 1 to persuade Brutus to join the conspiracy?
Cassius manipulates Brutus to join the conspiracy against Julius Caesar, using his sense of honor and fear of Caesar’s rise to power to gain his support. They use forged letters to suggest widespread support for Caesar’s assassination. The conspirators believe it is necessary to convince Brutus to join their plot due to Julius Caesar’s trust and close friendship with him. Brutus’ positive relationship with Caesar is significant, and the senators are aware of this. Cassius plans to win Brutus over through manipulation and forged letters. Start a 48-hour free trial to boost your grades with expert answers and top-tier study guides.
What does Cassius say to get Casca to join the conspiracy?
Cassius’s admonition of Caesar prompts Casca to join his conspiracy, thereby revealing that he has recruited numerous high-ranking Romans. Both men recognize the necessity of Brutus’s involvement, given his popularity among the Roman people.
What causes Casca to join the conspiracy?
Cassius was the primary instigator of the conspiracy due to his adept manipulation of emotions, and was the initial assailant of Caesar. This evidence supports the assertion that the correct answer is A.
📹 Julius Caesar – Mark Antony’s Forum speech (starring Marlon Brando)
Marlonbrando #juliuscaesar #markantony #romanspeech Mark Antony’s Forum speech (starring Marlon Brando) in 1953′ …
I love the stealth of this speech. The assassins know that the crowd loves Mark Antony and if Mark Antony, who was a friend of Caesar, makes a speech condemning the crimes of Caesar, the assassins, and the murder itself, will find favor. Instead, Mark Antony turns the speech around, and each time he refers to the assassins as “honorable men” he is holding them up as the opposite. Here, for once, is irony not in the service of humor.
As an 8th grader, I got placed in a freshman English class (long story). Instead of Romeo and Juliet, we read Julius Caesar. I missed the day the teacher assigned who was reading what, and he gave me Mark Antony. I thought this character barely spoke and that’s why he was given to me. And then i saw this three page speech and I think a part of me died
Brando’s mother, Dodie Pennebaker Brando, was active in community theater in Omaha. She was passionate about Shakespeare. “You haven’t done anything until you’ve done Shakespeare” was something she had said for years. When Brando was offered Mark Antony, he took it, prepared for it with his mother’s critiques and in the end, it was his gift to her. As a friend said, “He kept her inside of himself, always.”
Brando is just awesome here. I see many prefer the Heston version (which is also quite incredible and moving too), but if I am to “romanticize” this speech with my bias — Brando is #1. Mark Anthony was not an intellectual, but he was supposedly cunning, emotional, and a warrior. Brando’s up and down rage during the speech, theatrical movements to sway the crowd….. these ring true for what “an Antony” may have done. Heston/Brando — just epic
This is the best version of this speech I have seen. And the ending, the best part, is not even here. Brando is really speaking to the crowd, not making an oration. From what I have read, Gielgud talked to him about this speech. Antony’s other memorable oration, over the body in the senate, Brando does not as well as this one. And when Gielgud saw the rushes on that, he regretted not advising him for that one.
Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them; The good is oft interred with their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answer’d it. Here, under leave of Brutus and the rest– For Brutus is an honourable man; So are they all, all honourable men– Come I to speak in Caesar’s funeral. He was my friend, faithful and just to me: But Brutus says he was ambitious; And Brutus is an honourable man. He hath brought many captives home to Rome Whose ransoms did the general coffers fill: Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept: Ambition should be made of sterner stuff: Yet Brutus says he was ambitious; And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse: was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honourable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause: What cause withholds you then, to mourn for him? O judgment! thou art fled to brutish beasts, And men have lost their reason. Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me.
Seeing plays and even learning from school..I was always given the impression that the opening lines of “Friends…Romans…Countrymen… lend me your ears” are said between pauses of each other and in a dramatic and passive tone…however the way Marlon Brando said it at a continuous and assertive pace is spot on and actually more realistic, especially when considering that he was trying to gain a crowds attention at that moment.
02:03 Brandon reading the dialogue during the scene LOL Great scene show how fickle are the opinion of the masses only need a few words from Brutus to considered Caesar a Villain and forget how much they love him, and only a few words of Mark Anthony to rebel against Brutus. Politicians always haven play people’s will and moral like a damn piano
for myself: Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them; The good is oft interred with their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answer’d it. Here, under leave of Brutus and the rest– For Brutus is an honourable man; So are they all, all honourable men– Come I to speak in Caesar’s funeral. He was my friend, faithful and just to me: But Brutus says he was ambitious; And Brutus is an honourable man. He hath brought many captives home to Rome Whose ransoms did the general coffers fill: Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept: Ambition should be made of sterner stuff: Yet Brutus says he was ambitious; And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse: was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honourable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause: What cause withholds you then, to mourn for him? O judgment! thou art fled to brutish beasts, And men have lost their reason. Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me.
The thing about this speech is that it can be rather tricky for an actor to get right. Of course it requires Antony to be emotive, but one has to remember that it can’t be taken completely at face value. Antony knows he has to win over the crowd and is making a calculated speech, much like how a politician would. At worst, even in the context of the play arguably, he’s defending a Fascist, and understands how this will benefit him. There are little moments in Brando’s performance, the way he looks up after turning away at 2:15 where you get the sense that while he’s tense about how his speech has gone down, he’s been playing up his emotion for the crowd, and is much more calculating than he appears.
Marlon Brando is the greatest actor because of his unmatched acting range. From 1950-60 he played a paraplegic in THE MEN, Stanley Kowalski in A STREETCAR NAMED DESIRE, a Mexican revolutionary in VIVA ZAPATA, Mark Anthony in JULIUS CEASAR, a Hell’s Angel, Terry Malloy in ON THE WATERFRONT, Napoleon in DESIREE, sang and danced in GUYS AND DOLLS, a Japanese man(!) in TEAHOUSE OF THE AUGUST MOON, a contrite nazi in YOUNG LIONS then directed ONE EYED JACKS.
What a pity this speech isn’t finished; in the second part, Antony shows the tears in Ceasar’s robe and his gashed body. Then he lets the crowd “persuade” him to read the Will. Then, as a mob, they all leave, planning to burn Rome down. And alone, he says, “Now let it work… Mischief, thou art afoot. Take thou what course thou wilt”.
Sir John Gielgud, considered Brando’s performance here compelling, so much so he wanted to direct him in Hamlet. But he also felt that more exposure to the discipline of the theatre would have helped Brando with what he called “the shape of the scene”. Maybe. For me, Brando’s ‘funeral oration’ is the first and only time I’ve been truly riveted by the scene. He gave it a passion and a realism that others, including Gielgud, have not. The likes of Gielgud and Olivier could render a speech certainly, but their delivery always seemed remote, overblown, reverential more of Shakespeare and perhaps themselves, than of the moment. Brando gave the scene balls, bringing home a visceral scorn for Brutus, Cassius and the rest of that stabby crew. He also gave us the contrast. Gielgud’s version is dishwater in the comparison. And Heston’s effort? Useful at least for highlighting everything that Brando did right that Heston did wrong.
I admire about half of Brando’s work on screen, but this is one of the most embarrassing performances Brando gave. There is nothing heroic about his Mark Antony; he’s rage appears forced and the ironies are flat. Brando’s vocal inflections were never good when he had to raise his voice (mumbling was his specialty, and it was appropriate half of the time). You have to be a blind, die-hard fan of his to not see he’s just wrong for the role the same way he was wrong for “Guys and Dolls.” Fortunately, we have “Streetcar,” “Wild One,” “One the Waterfront,” “Godfather,” “Reflections in a Golden Eye,” “One Eyed Jacks” and a few others that showcase Brando best.