Development of Character #
Shakespeare’s dramatic achievement comes to the fore in creating and depicting distinctive and credible characters who reveal themselves through consistent actions and dialogue. As Abraham Lincoln said:
“If you want to test someone’s character; give them power.”
Compelling Characters
Shakespeare invented his share of distinctive stock characters, but his truly great characters – particularly his tragic heroes – are unequalled in literature, dwarfing even the sublime creations of the Greek tragedians. Shakespeare’s great characters have remained popular because of their complexity; for example, we can see ourselves as gentle Hamlet, forced against his better nature to seek murderous revenge.
We must remember that character creation is a construct; an artefact and central ones do not necessarily represent the author. Characters are either portrayed sympathetically or unsympathetically. The former are called protagonists, heroes or good guys while the latter are antagonists, villains or bad guys. Sometimes main characters are picaresque – likeable but harmless rogues, larrikins or scoundrels –“loveable rogues”.
Homer animates–Shakespeare animates in its poor way much literature I think at best awakens a pleasing melancholy. But what men want is something to animate and ennoble them
Martin Amis points out that over two millennia humans first told stories of Gods, then Kings, then Epic Heroes, then ordinary people, then anti-heroes, then villains, then demons and finally themselves.
Shakespeare’s multifaceted storymaking approaches, leads to intertextual and intratextual dynamics for distinctive characters who express the sociopolitical views and religious beliefs they embody.
In determining the qualities of any character, the following points should be observed:
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Note what others say of this person. Most major characters are introduced by what others say about them.
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Note what he says and does himself. As Aristotle said, “Don’t tell us; let the charactes reveal themselves” Are their actions consitent with their words?
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Be sure that he is expressing his real character and sentiments. He may be acting a part, e.g. if in disguise.
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Look for contrasts. This is a favourite method of portraying characters with Shakespeare. e.g. note the marked contrast between Brutus and Anthony. Characters can act as foils to the main character. Hamlet has at least five foils.
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Watch for growth or change of character as the play progresses.
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Shakespeare tends to provide balanced characters with both heroic and flawed qualities. He presents them in a manner that allows each of his audiences to determine their merits or demerits.
Performance #
Human communication is largely non verbal.
The text is merely the blue prints or skeleton of a work of drama and what gives it body, shape or flesh and blood is the performance.
Performance relies on sub-text to convey meaning, often sub-consciously. Linguists agree that communication is 93% non-verbal and only 7% verbal.
Especially in drama, body language through stance, position, deportment, facial expression, posture and a thousand subtle features convey meaning. Then there are the other factors, such as staging, props, sound effects, lighting costumes that influence how a play derives meaning.
These are factors that must be valued and the director’s role is over riding in determining how a play is presented and received by a live pulsating audience.
In Shakespeare’s time, props were minimum. He engages the imagination.
Conflicting Perspectives #
Each of the characters can be seen in opposing lights or differing perspectives. You can look at how each can be seen positively or negatively.
As Antony tells the murderers:
My credit now stands on such slippery ground,
That one of two bad ways you must conceit me,
Either a coward or a flatterer. 3.1. 191 - 3
MAJOR CHARACTERS: #
Commoners: #
The commoners are nameless, as they are in the records of history, and have to be distinguished by being numbered; they are witty, good-natured, coarse of speech, incapable of high political principle. But they represent the physical strength of Rome because they are a multitude and will follow devotedly a leader who wins them to his side. Whoever aspires to control Rome must be popular with the commons, and the commons have been won by Caesar. Shakespeare uses them to lampoon the Tribunes who swore an oath to serve the interests of the Plebeians.
They are variously called: idle creatures, You blocks, you stones, you worse than senseless things! (MARULLUS) vulgar, (FLAVIUS ) mine honest neighbours, the rabblement, the tag-rag people (Casca
It is extremely difficult to determine where Shakespeare stands on some of his characters. Where does he stand on Caesar, Brutus or Antony? He depicts what others say, what they say; but most important what they do. Are they consistent?
He raise the questions – but not the answers.
https://nebo-lit.com/poetry/Eliot-T.S/On-Poetry.html
Caesar #
Caesar’s eponymous name has become synonymous with the power of an absolute ruler in various languages; in Russia its title became Tsar or Czar, in Germany, Kaiser. He was all powerful.
It is believed that his mother endured agonising surgery in order to extract him at birth. This belief gave rise to the term “Caesarean birth” The fact that his mother survived his birth suggests this is apocryphal
Shakespeare gives us a fairly balanced (ambiguous) account of most of the characters which can lead to an ambivalent response from us. There are two sides to each character.
Positive
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His military greatness — 1,1, line 53; 2,2, line 66;
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One of Rome’s most famous Generals who conquests include Gaul (France) and England. 3,1, line 149.
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His power in Rome — 1,2, line 10; 1,2, line 135.
He was appointed “dictator for life”
Why, man, he doth bestrid the narrow world
Like a Colossus, and we petty men
Walk under his huge legs and peep about
To find ourselves dishonourable graves.
- His popularity
BRUTUS
It must be by his death: and for my part,
I know no personal cause to spurn at him,
But for the general. He would be crown’d:
ANTONY
O, pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers!
Thou art the ruins of the noblest man
That ever lived in the tide of times. 3.1 224 - 8
- Good judge of men — Cassius — Anthony.
Ironically Brutus hopes to kill the spirit of Caesar by killing him, however this merely releases Caesar’s spirit forever.
Negative
Caesar’s arrogance – pride, boastfulness, megalomaniac?
BRUTUS
So let high-sighted tyranny range on,
Till each man drop by lottery.
Caesar rejects petitions claiming he is fair:
Know, Caesar doth not wrong, nor without (just) cause
Will he be satisfied.
The word “just” was deleted; an alteration of the words as they stood in the tragedy when it was acted in 1601, and the change may be traced to a criticism by the poet’s friend, collaborator? Ben Jonson, in his “Discoveries”.
His last words – hubris – bold and audacious. Pride goeth before the fall:
Caesar:
But I am constant as the northern star…
And men are flesh and blood, and apprehensive;
I know not one That unassailable holds on his rank Unshak’d of motion; and that I am he III.i. 60-70
II. 2, line 10; 3,1, line 58.
- His fear of being thought afraid — 2.,2, 100.
- His love of flattery — 11,1, line 207.
- His ambition.
- He wants an heir to succeed him as king.
- He shows his longing for the crown.
His fear of Cassius:
Such men as he be never at heart’s ease
Whiles they behold a greater than themselves,
And therefore are they very dangerous.
I rather tell thee what is to be fear’d
Than what I fear; for always I am Caesar ll 208 - 212
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His physical weakness - he has fits, he is deaf in one ear, etc.
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Superstition — 2,1, lines 195—198.
For an Historical account of Caesar click here
Brutus #
It is often contended that Brutus is the central character as Caesar dies around the middle of the play. However, Shakespeare’s great characters remain popular because of their complexity; many of the characters are complex, conflicted and inconsitent individuals. There is often a direct contrast between what others say, they say and what they actually do.
Are any of the characters tragic figures? Do any go through a process of suffering leading to self-recognition? Caesar dies with the deluded belief that he is unassailable as the North star. Brutus argues that their defeat was a victory.
One critic has said in a quotation that, “He (Brutus) was a good man in the worst sense of the word”. He was essentially noble of soul but his very virtues made him a failure.
Brutus is portrayed in an ambiguous or equivocal manner. What he says is often contradicted by his actions.
Positive
Does he become a victim of flattery due to his good reputation?
Yes, every man of them, and no man here
But honours you; and every one doth wish
You had but that opinion of yourself
Which every noble Roman bears of you. 2.1. 90 - 93 - Cassius
- He was a devoted patriot. Cassius appeals to his patriotism in 1, 2, Line 159. Ligarious calls him “Soul of Rome”. He takes as his motto, “Peace, Freedom & Liberty” (3, 1, Line 110). Yet as Dr Johnson said, “Patriotism is the last refuge of a scroundrel”. Rioters on January 6 th based their insurrection on false grounds of patriotism and called out - “Freedom!”
Capitol Riots:
BRUTUS starts his soliloquy with his conclusion by using A Priori reasoning – Presumptive or from assumed axioms. He relies on a premise, appearing to have made up his mind by rationalizing a pre-conceived general hypothesis and then attempts to prove it; convincing himself.
It must be by his death: and for my part,
I know no personal cause to spurn at him,
But for the general. He would be crown’d:
He expresses it to the people,
“Not that I loved Caesar less but that I loved Rome more”.
Can be seen as false, hollow patriotism; it assumes the Republic was sound, but the evidence reveals it had already been totally corrupted with merely the illusions of liberty. Sulla had already demonstrated that tyrannical power ruled.
Servant of Mark Antony
Thus did bid me fall down;
And, being prostrate, thus he bade me say:
Brutus is noble, wise, valiant, and honest;
Finally Antony admits it in his final speech over the dead body of Brutus.
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Brutus’ gentleness is perhaps his most beautiful trait. This is shown in his scene with Portia and more particularly in his two scenes with Lucius.
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He is no match for Anthony in cleverness, nor for Cassius in the administration of affairs, but he towers above them both in moral goodness.
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He is an idealist, but becomes a victim of his own idealism as he cannot entertain using pragmatic means to achieve his ends. He attempts to turn the murder of Caesar a ritualistic event to make it appear a sacrifice to the gods –
Let’s kill him boldly, but not wrathfully;
Let’s carve him as a dish fit for the gods,
Not hew him as a carcass fit for hounds: (Act II, Scene I 173 - 5).
- His self-assurance is revealed in a generous bout of self-justification
“There is no terror, Cassius, in your threats,
For I am arm’d so strong in honesty
That they pass by me as the idle wind,
Which I respect not. I did send to you
For certain sums of gold, which you denied me:
For I can raise no money by vile means:
By heaven, I had rather coin my heart,
And drop my blood for drachmas, than to wring
From the hard hands of peasants their vile trash By any indirection” - BRUTUS IV. 3. 65 - 75.
But then castigates Cassius for not sharing his ill-gotten loot:
I did send
To you for gold to pay my legions,
Which you denied me: IV. 3 75 - 77.
- An opportunist? Never miss an opportunity to get ahead.
There is a tide in the affairs of men
Which taken at the flood leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries. IV 3 217 - 220
- While he is noble in his private life, he is hopeless in public life.
Negative
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He was not at all practical. He was a philosopher rather than a man of action. There are many references to his bookishness, notably his reading when the ghost appears, to him. He was an impractical politician.
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He was a theorist in government. He could not compromise. He believed in the republican form of government and could not see that the people wanted a monarchy.
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He was an absolute failure as a leader in the war because he would not raise money by any questionable means when it could be raised by no honourable means. Note his charges against Lucius Pella and Cassius in Act 4, Scene 3. He cannot make the best of things as they are and consequently cannot get on with other men.
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He is a vain man, deeply conscious of his own rectitude. See 1,2, Lines 85—89, “If it be aught–death. So too in the quarrel scene with Cassius he rather flaunts his own incorruptibility. His vanity is shown in another way where he is willing to let Antony speak at Caesar’s funeral. He is sure that Antony can do no harm after he, Brutus, has spoken. Moreover, it is his vanity which makes him susceptible to Cassius’ solicitations to enter the conspiracy.
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He misreads the characters of all with whom he comes in contact. He failed to see that Caesar was the one man who could save Rome.
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Overrules Cassius at every opportunity - oaths, inclusion of Cicero - “will not follow what others begin” - is he worried about his leadership?
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He under valued Antony’s power and ability. He should not have allowed Antony to speak; especially last.
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He was surprised to find Cassius taking bribes, yet hypocritally is upset when he is denied any share.
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Note also how little he understood the mob when he delivered his oration.
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He is a very poor general and makes the great mistake which results in their defeat at Philippi. On the other hand he has personal bravery to a very high degree as witness his bearing on the battlefield and the coolness with which he addressed Caesar’s ghost.
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He is a poor strategist as a general when he attacks too soon:
BRUTUS :
Let them set on at once; for I perceive
But cold demeanor in Octavius’ wing,
And sudden push gives them the overthrow.
Ride, ride, Messala: let them all come down. V. 1. 3 - 6
- He was a stoic as he reminds us on several occasions but went against the stoic belief when he committed suicide rather than face capture. Thus his pride and fear of shame were stronger than his philosophcal principles.
BRUTUS
Even by the rule of that philosophy
By which I did blame Cato for the death
Which he did give himself, I know not how,
But I do find it cowardly and vile,
For fear of what might fall, so to prevent
The time of life: arming myself with patience
To stay the providence of some high powers
That govern us below. V. 1. 101 - 08
CASSIUS
Then, if we lose this battle, You are contented to be led in triumph Thorough the streets of Rome? V. 1. 108 - 110
BRUTUS
No, Cassius, no: think not, thou noble Roman,
That ever Brutus will go bound to Rome;
He bears too great a mind.
His final speech is inconsistent with everything he stood for; he finally acknowledges his personal motives.
My heart doth joy that yet in all my life
I found no man but he was true to me.
I shall have glory by this losing day
He changes his tune; instead of a patriot to the idea of the good of Rome, has dropped out to personal loyalty. Is he celebrating or merely resigned to loss?
Caesar is proclaimed the noblest man; Brutus, the noblest Roman.
For more on Brutus Click here.
CASSIUS #
The main conspirator, his self-serving expediency and wilful manipulation of others creates an atmosphere of intrigue, subterfuge and backroom faceless men’s machinations in the eternal struggle for power and influence.
Positive
Keen judge of men — understands Casca, Anthony and Brutus — 1,1, line 202.
The wily Caius Cassius that poisons Brutus’ mind. It’s this insidious cleverness that makes Cassius such a compelling character.
He intuits Brutus’ vulnerability to moral corruption from the first and locks onto it as a means to getting the job done. This self-serving and self-righteous but, evil expediency lends impetus and vitality.
Great practical ability in guiding the conspiracy in his play for Philippi.
Devoted to Brutus — gives way to him — 2,1, line 141; 2,1, line 161.
The loyalty of Pindarus to Cassius, and the fact that Cassius is loved by all the soldiers indicates that he must have been an excellent general.
Tenderness and sympathy — on hearing of Portia’s death.
Negative
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Envious - lines 115’-119; line 194; 1,2, line 208 It drips with jealousy, resentment and bitterness because Cassius’ boyhood friend (i.e., Caesar) is now at the acme of the civilized world " And this man Is now become a god, and Cassius is A wretched creature and must bend his body, If Caesar carelessly but nod on him. (1.2.117-18).
-
unscrupulous as to methods — 1,2, line 307;
CAESAR
So soon as that spare Cassius. He reads much;
He is a great observer and he looks
Quite through the deeds of men: he loves no plays,
As thou dost, Antony; he hears no music; ……
Such men as he be never at heart’s ease
Whiles they behold a greater than themselves,
And therefore are they very dangerous.
- The bribes expose his lack of principles
- Hasty and hot tempered — the quarrel scene.
Has serious doubts before the battle:
CASSIUS Messala,
You know that I held Epicurus strong
And his opinion: now I change my mind,
And partly credit things that do presage.
Coming from Sardis, on our former ensign
Two mighty eagles fell, and there they perch’d,
Gorging and feeding from our soldiers’ hands;
As an Epicurean, Cassius should not pay much attention to signs or omens as. the gods were not concerned with human affairs, and that pleasure was the chief end of life.
ANTONY #
Positive
A lover of pleasure — 1,2, lines 28 and 29;
BRUTUS says:
for he is given To sports, to wildness and much company. line 189.
CAESAR reports:
See! Antony, that revels long o’ nights,
Is notwithstanding up. Good morrow,
Antony appears utterly devoted to Caesar — Sycophantic?
When Caesar says ‘do this,’ it is perform’d. 1.2.10
Deeply affected by death of Caesar.
CASSIUS
Yet I fear him;
For in the ingrafted love he bears to Caesar– 2,1 , line 184;
- Tactfulness and cunning — in dealing with the conspirators after Caesar’s death.
Swears bloody revenge on all of Rome:
Woe to the hand that shed this costly blood!
Over thy wounds now do I prophesy,–
Which, like dumb mouths, do ope their ruby lips,
To beg the voice and utterance of my tongue–
A curse shall light upon the limbs of men;
Domestic fury and fierce civil strife
Shall cumber all the parts of Italy;
Blood and destruction shall be so in use
And dreadful objects so familiar
That mothers shall but smile when they behold Their infants quarter’d with the hands of war;
All pity choked with custom of fell deeds: And Caesar’s spirit, ranging for revenge,
With Ate by his side come hot from hell,
Shall in these confines with a monarch’s voice
Cry ‘Havoc,’ and let slip the dogs of war;
That this foul deed shall smell above the earth
With carrion men, groaning for burial.
- His oration. He manages to turn an angry mob around by clever rhetorical skills. The comparison to wood and stones, contradicts the tribunes in Act I. sc. 1.
ANTONY
You are not wood, you are not stones, but men; And, being men, bearing the will of Caesar, It will inflame you, it will make you mad:
- His cleverness
He pretends to respect the mob by his request:
And let me show you him that made the will. Shall I descend? and will you give me leave?
After inciting the mob to “Havoc” he relinquishes all control:
Now let it work. Mischief, thou art afoot,
Take thou what course thou wilt!
Like Trump he relinquishes all responsibility.
https://www.bbc.com/news/world-us-canada-55640437
Proscriptions
Proscriptions in ancient Rome were a political system that involved the public condemnation and execution of Roman citizens who were declared outlaws.
A list of proscribed citizens was posted in public. The property of the proscribed was confiscated and sold at auction. Rewards were offered to anyone who killed or betrayed the proscribed.
Severe penalties were imposed on anyone who sheltered the proscribed. The proscribed were hunted down and executed in Rome and throughout Italy.
Sulla used proscriptions in 82–81 BC
Some claim that 300 senators and 2,000 equestrians were listed.
Antony was furious with those who had worked to declare him a public enemy.
The triumvirs were committed to an enormous programme of expenditure to reward the soldiers for the forthcoming war in the East. The only available sources of money were the estates of the wealthy.
Having seen the conservative faction of the senate assert itself repeatedly and violently, even after it had seemed defeated, and especially after Caesar’s triumph, they felt that they needed to assert their authority in the most obvious and extreme fashion.
Whatever the intent, the proscriptions were terrifying. Power showed itself through terror. The proscriptions brought wealth to the triumvirate which allowed it to meet some of its bills. The senators were rendered compliant.
- Antony also manipulates Caesar’s Will, through abnegating his promise of 75 drachmas.
ANTONY
He shall not live; look, with a spot I damn him.
But, Lepidus, go you to Caesar’s house;
Fetch the will hither, and we shall determine
How to cut off some charge in legacies.
- Antony’s battle strategy
Negative
CASSIUS says of Antony:
we shall find of him
A shrewd contriver; and, you know, his means,
If he improve them, may well stretch so far
As to annoy us all: which to prevent,
Let Antony and Caesar fall together. 2.1.155 – 160.
- Condescending and uses people:
ANTONY
Octavius, I have seen more days than you:
And though we lay these honours on this man,
To ease ourselves of divers slanderous loads,
He shall but bear them as the ass bears gold,
-
Unscrupulousness and cruelty Act 4. Sc. 1.
-
Thinks only of the present.
-
Caves in to Octavius in the battle:
ANTONY :
Octavius, lead your battle softly on,
Upon the left hand of the even field.
OCTAVIUS: Upon the right hand I; keep thou the left.
ANTONY Why do you cross me in this exigent?
OCTAVIUS: I do not cross you; but I will do so. V. 1. 16 - 20
March
OCTAVIUS #
Positive
-
Cautious.
-
Cool and Calculating.
-
Prompt in action.
-
Strong—willed. 5,1, line 16.
Negative
-
Very young – about 18 when he first arrives in Rome after Caesar’s death.
-
Not at all talkative.
CASCA #
Perhaps the most duplicitous character in the play. He purports to be loyal to Caesar while conspiring with the plotters.
Positive
A flatterer of Caesar — 1,2, line 2.
-
Pretends to a blunt honesty — 1,2, lines 215—295.
-
Bold and courageous — is the first to stab Caesar.
Negative
-
Sharp—witted — 1,2, line 301.
-
Sarcastic and humourous — 1,2, lines 234—276
-
Superstitious — 1,3, lines 11—14.
-
Cynical and mocking.
Watch the body language of Casca in these scenes from the film:
https://www.youtube.com/watch?v=qjG_Huf7tZw&t=5187s
ANTONY #
Positive
A lover of pleasure — 1,2, lines 28 and 29;
BRUTUS
for he is given To sports, to wildness and much company.
line 189.
CAESAR
See! Antony, that revels long o’ nights, Is notwithstanding up. Good morrow, Antony.
2,2, 116,
Devoted to Caesar — Sycophantic?
ANTONY
When Caesar says ‘do this,’ it is perform’d.1.2.10
CASSIUS
Yet I fear him; For in the ingrafted love he bears to Caesar–
2,1 , line 184;
Tactfulness and cunning — in dealing with the conspirators after Caesar’s death.
His oration.
He manages to turn an angry mob around by clever rhetorical skills.
His cleverness
- his oration.
-his battle strategy
Negative
CASSIUS
we shall find of him
A shrewd contriver; and, you know, his means,
If he improve them, may well stretch so far
As to annoy us all: which to prevent,
Let Antony and Caesar fall together.
2.1.155 – 160.
Cavalier in condemning people to death and manipulates the Will.
ANTONY
He shall not live; look, with a spot I damn him. But, Lepidus, go you to Caesar’s house; Fetch the will hither, and we shall determine How to cut off some charge in legacies.
Condescending and uses people:
ANTONY
Octavius, I have seen more days than you: And though we lay these honours on this man, To ease ourselves of divers slanderous loads, He shall but bear them as the ass bears gold,
Unscrupulousness and cruelty Act 4. Sc. 1.
Thinks only of the present.
OCTAVIUS
Positive
Cautious.
Cool and Calculating.
Prompt in action.
Strong—willed. 5,1, line 16.
Negative
Very young – about 18 when he first arrives in Rome after Caesar’s death.
Not at all talkative.
CASCA
Positive
A flatterer of Caesar — 1,2, line 2.
Pretends to a blunt honesty — 1,2, lines 215—295.
Bold and courageous — is the first to stab Caesar.
Negative
Duplicitous
Sharp—witted — 1,2, line 301.
Sarcastic and humourous — 1,2, lines 234—276
Superstitious — 1,3, lines 11—14.
Cynical and mocking.
PORTIA
Positive
Proud of her ancestry and her position
A woman well-reputed, Cato’s daughter. 2,1, lines 292—298.
A Stoic — 2,1, lines 299—303.
Great depth of feeling — her scene with Brutus.
Dignity — 2,1.
True conception of a wife position — 2,1.
BRUTUS
You are my true and honourable wife, As dear to me as are the ruddy drops That visit my sad heart
Negative
BRUTUS
Portia, …. wherefore rise you now? It is not for your health thus to commit Your weak condition to the raw cold morning.
Does violence to her own womanly nature and breaks down.
BRUTUS
Impatient of my absence, –for with her death That tidings came;–with this she fell distract, And, her attendants absent, swallow’d fire.
CALPURNIA Positive
Love for Caesar.
Devoted to him, concerned about his welfare. Protective and tries to save him from his fate.
Negative
A weak character.
Superstitious.
Break up the senate till another time, When Caesar’s wife shall meet with better dreams.’ When beggars die, there are no comets seen; The heavens themselves blaze forth the death of princes.
Tactless in dealing with Caesar.
Does not share Caesar’s confidence.
How to Write a Character Sketch #
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A character sketch is not just an account of what the person did. It should show what they are and not what they did. Their actions should be referred only to show that they had certain qualities.
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A character sketch is not just a list of qualities. It should be written in paragraph form with enough detail and reference to the story to prove that the character has the qualities mentioned. There need not be a separate paragraph for each quality; if certain qualities are related put them in one paragraph.
-
Make definite references to the words and actions of the character to prove your point. If possible, quote the exact words. It is not necessary to give the number of act and scene.