i hate loe

Offers Caesar the crown three times

Antony

Poet killed on the streets by a maddened crowd. He shares the name of one of the assassins.

Cinna

On the battlefield, he asserts that he is Brutus. He does this to give Brutus more time to escape.

Lucilius

In Act 1, Scene 1, he frustrates Flavius and Marullus with his puns.

a cobbler

Person who Brutus says has the 'falling sickness,' to which Cassius replies, No, 'we have the falling sickness.'

Julius Caesar

Grandnephew of Caesar who becomes a member of the triumvirate. His arrival into Rome after Antony has rid the upper class of the plebeians comes at an opportune moment.

Octavius

Self-inflicts a wound to the thigh

Portia

Boy servant to Brutus and Portia

Lucius

Tries to warn Caesar of the conspiracy with a letter

Artemidorus

Dreams of statue of Caesar running blood

Calpurnia

Inflicts the first wound in Caesar

Casca

Inflicts what Mark Antony calls the 'unkindest cut of all'

Brutus

He was once challenged by Caesar to swim across the Tiber river

Cassius

Marullus and Flavius chide the commoners in Act I, scene 1 for forgetting this noble Roman.

Pompey

Petitions Caesar for the release of his brother

Metellus Cimber

Believing this friend to have been captured, Cassius commits suicide believing that his army has been defeated.

Titinius

He would have Caesar carved 'as a dish fit for the gods,' Not hewn him as a carcass fit for hounds.

Brutus

Warns Caesar to 'Beware the Ides of March.'

Soothsayer

He is urged by Caesar to touch Calphurnia in the festival race

Mark Antony

He hatches the plan to have notes strewn about where Brutus may find them

Cassius

He convinces Caesar to go to the Senate with flattery and enticement

Decius Brutus

"Let me have men about me that are fat, / Sleek-headed, mean, and looks like thinks too much, such men are dangerous."

Caesar

"Men at some time are masters of their fates; / The fault, dear Brutus, is not in our stars, / But in ourselves, that we are underlings."

Cassius

"Not that I loved Caesar less, but that I loved Rome more."

Brutus

"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 not in the power of mortals to alter."

Antony

"Tis a common thing for a man to fear danger, / When he hears it coming, but to meet it with courage."

Caesar

"Et tu, Brute? — Then fall, Caesar."

Caesar

"Cowards die many times before they are dead; / The valiant never take the field of battle."

Caesar

"Am I so vile that I can not speak out my thoughts?"

Brutus

"Who else must be led by the nose? / To keep up with you as madly as a fool, who else is ready to fight?"

Antony

In Julius Caesar, why does Calpurnia's dream occur?

D

In Julius Caesar, why is it important to enlist Brutus as a member of the conspiracy?

B

In Julius Caesar, what most concerns Brutus is:

A

In Julius Caesar, what most concerns Brutus is:

A

Why doesn't Brutus want to swear an oath with the conspirators?

D

In The Tragedy of Julius Caesar, Act II, when Brutus says, "And therefore think him as a serpent's egg / Which hatched, would as his kind grow mischievous, / And kill him in the shell," he is:

C

Caesar yields to Calpurnia's wishes at first. Why does he change his mind and decide to go to the Senate meeting?

D

What is the order of deaths in the play?

B

When Caesar appears in Act II, Scene ii (the scene with Calpurnia and, later, the Patricians and Brutus), he seems to be:

D

In The Tragedy of Julius Caesar when Antony first shakes hands with the conspirators, it suggests that he:

D

What news is reported to Antony at the end of Act III, Scene i, of The Tragedy of Julius Caesar?

Octavius has arrived in Rome.

Which statement sums up the purpose of Act III, Scene iii, of The Tragedy of Julius Caesar in which a group of plebeians attacks a poet?

D

The Roman mob reacts to Antony's sarcastic use of the word:

B

How does Portia die?

D

Cassius needs Brutus in the plot because of Brutus's:

A

Who is NOT one of the conspirators against Caesar?

B

What literary term is illustrated by the following quotation: "And do you now put on your best attire? And do you now cull out a holiday? / And do you now strew flowers in his way…"?

B

a joke exploiting the different possible meanings of a word or the fact that there are words which should all be kept in their proper contexts.

pun

words or phrases that are no longer in everyday use or have lost a particular meaning in current usage.

archaism

a rhetorical device in which a writer emphasizes the equal value or weight of two or more ideas by expressing them in the same grammatical form.

parallelism

named after the average of crime and punishment of hubris in the Greek tragedies, this, then, is an opponent that cannot be beaten or overcome; or, it is one that inflicts retribution or vengeance.

nemesis

a speech performed by a single character, usually in a play. In such a speech the character speaks his thoughts out loud, to himself. This literary device allows the audience to know what the character is thinking, to know his or her innermost thoughts.

soliloquy

reference in literature or art to previous literature, history, mythology, pop culture/contemporary events, or the Bible (usually without explanation).

allusion

a figure of speech in which an opposition or contrast of ideas is expressed by parallelism of words that are the opposites of, or strongly contrasted with, each other, such as 'hatred stirs up strife, but love covers all sins.'

antithesis

a speech spoken by one character, usually in a play. The character may be speaking to other characters in the play or to the audience.

monologue

the protagonist of a tragedy. As described by Aristotle, he must have three qualities. First, he must be a great man—a man of notable deeds or character, or both. Second, he must experience a reversal of fortune from good to bad and experience more suffering than is fair or deserved. Last, his fall is the result of his flaw in character or judgment.

tragic hero

a pair of rhyming lines. Shakespeare often used such pairings of rhymed lines to (1) conclude or summarize an actor's speech, or to (2) mark the end of a scene, a change of scene.

couplet

a figure of speech by which, most frequently, a part is substituted for the whole. Less commonly the whole is substituted for the part.

synecdoche

unrhymed lines of iambic pentameter.

blank verse

a sudden flash of insight; a startling discovery and/or appearance; a dramatic realization.

epiphany

the use of verbal irony to mock or convey contempt.

sarcasm

the point in a play, novel, etc., in which a principal character recognizes or discovers another character's true identity or the true nature of their own circumstances.

anagnorisis

comparison of an unfamiliar or unusual concept or object with something familiar, usually forcing the reader to think about concepts more critically.

metaphor

pride to the point of arrogance or insolence. In Greek myth and tragedy, this often leads to a chain of audience but unknown to the characters.

hubris

irony in which something is known by the reader or implied, a flaw in character, or a wrongdoing.

hamartia

[in language] to create or invent a phrase or word that expresses a feeling or idea.

coin

dramatic device in which a character speaks to the character's words are unheard by the other characters.

aside

The method of beginning a narrative by plunging into the middle of the action without warning.

in medias res

typical event that takes place in a story.

trope

a figure of speech in which one thing is spoken of in terms of another.

metaphor

written or spoken language in its ordinary form, without metrical structure.

prose

term coined by Aristotle to describe an emotional cleansing or release of the negative emotions of pity and fear.

catharsis

the characters of a play, novel, or narrative.

dramatis personae

element in a story