Julius Caesar: Act 3 – Contextual Q&A

Question 1

"Et tu, Brute? Then fall, Caesar! [Caesar is murdered.] Cinna: Liberty! Freedom! Tyranny is dead! Run hence, proclaim, cry it about the streets! Cassius: Some to the common pulpits, and cry out 'Liberty, freedom, and enfranchisement!'"

(i) What does "Et tu, Brute?" reveal about Caesar's understanding of the situation? (3)
(ii) Why does Caesar's question about Brutus constitute his last words? (3)
(iii) How do the conspirators attempt to frame the assassination through their cries of "Liberty" and "Freedom"? (3)
(iv) What is the irony in the conspirators' claim that they have freed Rome? (3)
(v) How does this passage represent the assassination as simultaneously a political act and a personal betrayal? (4)

Answer:

(i) Caesar's "Et tu, Brute?" reveals that even at the moment of death, Caesar recognizes his betrayal by Brutus specifically. Caesar has seen many assassins but addresses Brutus directly, suggesting that Brutus's participation is the final shock. Caesar's question implies he didn't fully believe his closest friend would participate in assassination, making this the deepest betrayal.

(ii) Caesar's final words about Brutus are significant because they humanize his death. Rather than dying with warrior-like bravery, Caesar dies with a question—expressing confusion, hurt, and disappointment. The emotional weight of betrayal by a trusted friend becomes more profound than the physical act of assassination itself.

(iii) The conspirators attempt to reframe the assassination as liberation by using political language: "Liberty," "Freedom," and "Enfranchisement." By characterizing Caesar's death as the removal of tyranny, they try to present themselves as liberators rather than murderers. They seek to control the narrative by using ideological terminology that appeals to democratic values.

(iv) The irony is profound: by assassinating Caesar, the conspirators claim to have freed Rome, yet their action leads directly to civil war, chaos, mob violence, and ultimately greater tyranny. They intended to preserve the republic but instead destroy it. The "freedom" they celebrate will become the opposite—chaos and bloodshed.

(v) This passage embodies the play's tragic tension: Caesar's assassination is both a political statement (opposition to tyranny) and a personal betrayal (friends murdering their friend). Caesar's final words focus on the personal betrayal—"Brute?" —even as the conspirators try to turn the act into a political liberation. The passage reveals that for Caesar, the emotional pain of betrayal outweighs even the physical pain of multiple stab wounds.

Question 2

"Brutus: As Caesar loved me, I weep for him; as he was ambitious, I slew him. There is tears for his love, joy for his fortune, honour for his valour, and death for his ambition. Who is here so base as would be a bondsman? Who is here so rude as would not be a Roman?... I have the same dagger for myself, when it shall please my country to need my death."

(i) What is Brutus's central argument for Caesar's assassination? (3)
(ii) How does Brutus attempt to balance his love for Caesar with his action against him? (3)
(iii) What does Brutus's appeal to Roman identity contribute to his argument? (3)
(iv) What does Brutus's statement about his own dagger suggest about his character? (3)
(v) Why is Brutus's speech less persuasive than Antony's despite its logical structure? (4)

Answer:

Question 3

"Antony: 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 answered it. Here, under leave of Brutus and the rest— For Brutus is an honourable man; So are they all, all honourable men—"

(i) What is ironic about Antony's stated intention to "bury Caesar, not to praise him"? (3)
(ii) How does Antony's repetition of "honourable men" function rhetorically? (3)
(iii) What technique does Antony use by appearing to support Brutus's argument before refuting it? (3)
(iv) Why does Antony repeatedly defer to Brutus's judgment ("under leave of Brutus")? (3)
(v) How does this opening section demonstrate Antony's superior understanding of rhetoric compared to Brutus? (4)

Answer:

(i) Antony's opening is deeply ironic: he claims to bury Caesar, not praise him, yet his entire speech praises Caesar and condemns his assassins. Antony uses this false modesty as a rhetorical device to appear unbiased. By claiming he won't praise Caesar, he sets up the expectation that he will speak fairly—making his subsequent praise of Caesar more powerful.

(ii) Antony's repetition of "honourable men" becomes increasingly sarcastic. Each repetition drips with irony—the word becomes a weapon. By repeating it while describing dishonorable actions (stabbing a friend), Antony makes the word itself ironic. The repetition forces the audience to question whether the conspirators are truly honourable, making them question Brutus's argument.

(iii) Antony uses a technique called concession: he appears to accept Brutus's argument that Caesar was ambitious, even agreeing it was "a grievous fault." This apparent agreement disarms the audience. Then Antony subtly refutes this admission by presenting evidence that Caesar was not, in fact, ambitious. By appearing to concede, Antony gains credibility before his refutation.

(iv) Antony repeatedly defers to Brutus ("under leave of Brutus," "Brutus is an honourable man") to appear respectful and non-threatening. This deference is strategic—it makes Antony seem modest and reasonable, while it also sets up contrast: if Brutus is honourable, why did an honourable man do something dishonourable? The apparent respect masks cutting criticism.

(v) Antony demonstrates superior rhetoric through several techniques: false modesty, ironic repetition, apparent concession followed by refutation, and deferential criticism. Brutus relies on logical argument and direct appeal to principle. Antony manipulates emotion through language itself. Where Brutus tells the crowd what to think, Antony makes them feel their way to his conclusion. Antony understands that rhetoric is about influencing hearts as well as minds.

Question 4

"Antony: But here's a parchment with the seal of Caesar; I found it in his closet— I must not read it. It is not meet you know how much he left you. Will you be patient? Will you stay awhile? I have o'er-shot myself to tell you of it. I fear I wrong the honourable men Whose daggers have stabb'd Caesar; I do fear it."

(i) What document does Antony produce, and what is its significance? (3)
(ii) Why does Antony initially refuse to read the will? (3)
(iii) How does Antony's expressed fear about wronging the conspirators function rhetorically? (3)
(iv) What is the effect of Antony appearing reluctant to reveal information? (3)
(v) How does this passage demonstrate Antony's complete mastery of crowd manipulation? (4)

Answer:

Question 5

"Cinna (the poet): Truly, my name is Cinna. Second Citizen: Tear him for his bad verses! First Citizen: Tear him to pieces! He's a conspirator. Cinna: I am not Cinna the conspirator. I am Cinna the poet, not the conspirator. Second Citizen: It matters not his name; beat him and tear him!"

(i) Who is Cinna in this scene, and why is this significant? (3)
(ii) Why does the mob confuse Cinna the poet with Cinna the conspirator? (3)
(iii) What does Cinna's attempt to clarify his identity reveal about the mob's state of mind? (3)
(iv) What is the significance of the mob's statement "It matters not his name"? (3)
(v) How does Scene 3 serve as a coda to Antony's funeral oration and what does it suggest about the consequences of the assassination? (4)

Answer:

(i) Cinna is a poet, not a conspirator. This is significant because Cinna is innocent—he has nothing to do with Caesar's assassination. His death demonstrates that the mob violence resulting from Antony's speech extends beyond the conspirators to innocent people. Cinna becomes a victim of collective hysteria.

(ii) The mob confuses Cinna the poet with Cinna the conspirator simply because they share a name. In the chaos following Antony's speech, the mob has lost the capacity to distinguish between individuals, particularly between innocent people and conspirators. The mistake reveals the mob's reduced mental state—they are driven by impulse and rage rather than reason.

(iii) Cinna's repeated attempts to clarify his identity—"I am not Cinna the conspirator. I am Cinna the poet"—reveal the mob's complete indifference to truth or evidence. Despite Cinna's clear statement that he is a poet, not a conspirator, the mob persists in their determination to kill him. This shows the mob cannot be reasoned with; they have abandoned logic entirely.

(iv) The mob's statement "It matters not his name" is chilling: they have dehumanized Cinna. His identity as an individual no longer matters; he has become simply a target for the mob's rage. The statement suggests the mob doesn't care about truth, justice, or even identifying the right person—they simply want victims. This represents the complete breakdown of civilization into barbarism.

(v) Scene 3 serves as a coda showing the actual consequences of Antony's speech. While Antony's oration was rhetorically brilliant, it has produced mob violence and murder. An innocent poet dies. This scene suggests that the assassination, which the conspirators claimed would save Rome, has instead unleashed chaos where anyone can become a victim. The conspirators have lost control of events. Shakespeare shows that rhetoric, like assassination itself, has consequences beyond intention.