JULIUS CAESAR - TeachingBooks
JULIUS CAESARCURRICULUM GUIDEFOR TEACHERS AND STUDENTSA companion to the Folger Shakespeare Library Edition
INSIDE THIS GUIDEShakespeare is for Everyone!Overview from Folger EducationJulius Caesar SynopsisCharacters in Julius CaesarFrom One Classroom Teacher to AnotherTips for Teaching ShakespeareTeaching Shakespeare FAQs2 Lesson PlansFamous Lines and Phrases from Julius CaesarJulius Caesar Fact SheetSuggested Additional ResourcesAbout the FolgerON THE COVER:Adolphe Roargue after Vincenzo Camuccini. Mort deCésar. Print, 19th century. Folger Shakespeare Library.See more images ofJulius Caesar from the Folger collection atwww.folger.edu/digitalcollection.Image 1) Hugo Kaeseberg and J.C.G. Feldweg after Julius Kleinmichel. Shakespeare, Julius Cäsar, actIII scene 2. Print, 1879. Folger Shakespeare Library. Image 2) 2003 Children’s Shakespeare Festival.Folger Shakespeare Library. Image 3) John Gregory. Julius Caesar bas relief. Marble, 1932. Folger Shakespeare Library. Image 4) Julius Caesar. MGM Promotional Program, 1953. Folger Shakespeare Library.
At the Folger, we loveto see students takeShakespeare and makeit their own. We believethat Shakespeare isfor everyone and thatstudents of all ability levelscan successfully engagewith his works.SHAKESPEARE ISFOR EVERYONE!Shakespeare isn’t an antiquated art form. His plays are full of explosive familysituations, complex relationships, and deep emotions that today’s students can—and do—relate to. At the Folger Shakespeare Library, we love to see students takeShakespeare and make it their own. We believe that Shakespeare is for everyone andthat students of all ability levels can successfully engage with his works.The best way to learn Shakespeare is to do Shakespeare. What does this mean?Put simply, it is getting students up on their feet and physically, intellectually,and vocally engaging with the text. We believe that students learn best usinga performance-based methodology and that performance can build a personalconnection with the text that traditional teaching methods may not.Performance—which is not the same thing as “acting”—activates the imagination.Active learning invigorates the mind and stays with the learner. Shakespeare’sgenius with language, his skill as a dramatist, and his insight into the humancondition can instill even the least academically motivated student with a passionnot only for Shakespeare but also for language, drama, psychology, and knowledge.The Lesson Plans and Tips for Teaching Shakespeare included in this CurriculumGuide provide practical, classroom-tested approaches for using performancebased teaching techniques. We have also included a Synopsis, a Fact Sheet,and Famous Lines and Phrases from the play and interesting facts to share withstudents.Remember that enthusiasm is more important than expertise. There is alwaysmore for everyone to learn, so enjoy the ride with your students!Photos from Folger student Shakespearefestivals, classroom visits, and teacherworkshops by Mignonette Dooley, MimiMarquet, Deidra Starnes, and Lloyd Wolf.Robert YoungDirector of EducationFolger Shakespeare Library
Above: Alex Webb (Julius Caesar) and Aquila ensemble. Below: David Caron (Mark Antony). Julius Caesar. Folger Theatre’s presentation of Aquila Theatre Company, directed byRobert Richmond, 2000. Photos by Ken Cobb. Folger Shakespeare Library.J US YLN OI PUS I SCAESARSIn Rome, people are celebrating the triumphant return of Julius Caesar, a noted general.A soothsayer advises Caesar that the fifteenth of March (the ides of March) will bea dangerous day for him. Two Roman nobles, Cassius and Brutus, discuss Caesar’sgrowing power. Cassius urges Brutus to oppose Caesar for fear that Caesar may becomeking. Brutus ponders joining the conspiracy against Caesar and ultimately agrees to joinwith the conspirators. On the ides of March, Calphurnia, Caesar’s wife, persuades him tostay home because she fears for his safety. However, after hearing that the senators planto crown him, Caesar changes his mind and decides to go. In the street, Caesar brushesaside attempts to warn him of the conspiracy. Inside the Senate, the conspirators gatheraround Caesar and stab him to death, bathing their arms and hands in his blood. MarkAntony learns of the assassination and sends Brutus a message that he will follow Brutusas he followed Caesar. Brutus gives Antony permission to speak at Caesar’s funeral andinflamed by Antony’s words, the people set off to attack the conspirators. Antony joinswith Octavius to raise an army and fight against Brutus and Cassius. The opposing armiesconfront each other at Philippi. Brutus and Cassius are defeated, and Brutus kills himself.Antony praises Brutus as the only honorable conspirator, and Octavius orders Brutus’funeral rites. Learn more at www.folger.edu/editions.See more images from Julius Caesar at the Folger collection at www.folger.edu/digitalimagecollection.
JULIUS CAESARCHARACTER CONNECTIONSJulius CaesarCalphurniaRoman Generala prophetess, wife of CaesarSenatorsto whom Caesar answersCiceroPubliusPopilious LenaConspiratorsagainst CaesarCaius CassiusPindarusservant to CasiusCascaCinnaCaius LigariusDecius Brutusyoung CatoVarroMarcus Brutuswife of BrutusFlaviusMarullusMetellus alaDardaniusThe Triumvirin power after Caesar’s deathOctaviusMark Antonygreat nephew andadopted son of Caesarloyal to CaesarCHARACTER KEYMain Characters in whiteSecondary Characters in blackLepidusClitusPoetClaudius
FROM ONE CLASSROOMTEACHER TO ANOTHERIt is critical in reading any play by Shakespeare toallow students the breathing room to make their owndiscoveries about both the language and the story.Dear Colleagues,Although the plot of Shakespeare’s Julius Caesar is literally based on“ancient history”—in particular the writings of the Roman historianPlutarch—the beauty of the play does not arise from the historythat Shakespeare based it on, but rather from the language heenlivened it with. A historian is trained to report the facts, but anartist is allowed to add poetic elements to the language to makethe story timeless. As an artist, Shakespeare paints a picture ofCaesar that is ever open to interpretation. I am not sure that anotherauthor exists that gives teachers and students the flexibility thatShakespeare does. Depending on how you read it, Julius Caesar isa play about Caesar or Brutus, superstition or arrogance, friendshipor duty. It is critical in reading any play by Shakespeare to allowstudents the breathing room to make their own discoveries aboutboth the language and the story. It is also critical to approach thelanguage as something living and organic, not something that is“Greek” to the reader.I can distinctly remember the first year that I taught English and beingterrified to see Julius Caesar as a part of the freshmen curriculum.Although I loved this play, I was concerned about how I was goingto actually teach it to high school students in a way that would beengaging. As a new teacher, I was primarily focused on what I believedwould be the challenges of connecting a sixteenth-century play thattakes place in 44BC to my students. I was forgetting the beauty ofShakespeare: Julius Caesar is “only” a play that takes place in 44BCwith a bunch of actors running around the stage in togas if that is theonly way you decide to read it. Allow yourself and your students thefreedom to make it a play about whatever you choose.Christina PorterRevere High School, Revere, MASee performance-based teaching strategies inaction at www.folger.edu/teachervideos.
TIPS FORTEACHINGSHAKESPEAREAPerforming Shakespeare—even at the most rudimentarylevel, script in hand, stumblingover the difficult words—canand usually does permanentlychange a student’s relationshipwith the plays and their author.t the Folger, we believe thatShakespeare is for everyone.We believe that students of allability levels, all backgrounds, and at allgrade levels can—and do—successfullyengage with Shakespeare’s works.Why? Because Shakespeare, doneright, inspires. The plays are full ofexplosive family situations and complexrelationships that adolescents recognize.Performance is particularly crucial inteaching Shakespeare, whose nakedlanguage on the page may be difficultto understand. “Performance” in thissense does not mean presentingmemorized, costumed, fully stagedshows, although those can beboth satisfying and educational.Performance means getting studentsup on their feet, moving around aclassroom as characters, and speakingthe lines themselves.Remember:1. Enthusiasm is more importantthan expertise—there isalways more for everyone tolearn, so enjoy the ride withyour students!2. Trust Shakespeare’s originallanguage, but don’t labor overevery word.3. Pick out key scenes that speakmost clearly to your students.You do not have to start withAct 1, Scene 1.4. Use the text to explain the lifeand times, not vice versa.The following two Lesson Plans willgive you practical ways to get startedusing this approach in your classroom.Want More?Folger Education’s ShakespeareSet Free Toolkit is a comprehensiveresource for teaching Shakespeare,with lesson plans, activity guides,podcasts, videos, and other teachingtools. Learn more atwww.folger.edu/toolkit.
TEACHING SHAKESPEARE FAQSHow long does it take to teach a play?A Shakespeare unit can take anywherefrom a few days to a few weeks,depending on your students. You maywant to spend a few days to introducethe play’s major characters andthemes, or you could spend a coupleof weeks exploring several scenes, keyideas, and multiple interpretations.Full play units, such as the ones inShakespeare Set Free, can take up tosix weeks to teach. You do NOT needto start with Act 1, Scene 1 and you doNOT need to labor over every word.lines can be interpreted and enacted inmany different ways. One way aroundthis is to start with one scene whichyour students read and perform.Follow this activity by showing clipsfrom several film versions of the samescene. This strategy enables allow forsome meaningful discussion aboutpossible interpretations.Do I need to teach the entire play?Sometimes it is better to do just partof a play rather than the whole play.Or you might opt for a Shakespearesampler, using several scenes fromdifferent plays.Do I need to teach about the GlobeTheatre or Shakespeare’s Life?The simple answer is “No.” Whiletelling students that Shakespeare hadthree children and that he and AnneHathaway had to get married mightbe interesting, it really doesn’t helpthem understand the plays. It’s muchbetter to integrate some facts aboutElizabethan life when they come upin the plays. So when Francis Fluteprotests, “Let me not play a woman. Ihave a beard coming” in A MidsummerNight’s Dream, that’s the perfectopportunity to explain the Elizabethanstage convention of young men playingthe female parts.Which edition of the play is best touse with students?The Folger Shakespeare Librarypaperback editions are relativelyinexpensive, and easy to use, with thetext on one page and footnotes andscene summaries on the facing page.Be aware that Shakespeare plays inliterature anthologies often edit outsome of the more bawdy content—content which students often love. Theyare also very heavy to carry aroundwhen students are performing scenes.You can install the Free ElectronicShakespeare Reader on your harddrive on any Windows computer atwww.shakespeare.ariyam.com. This isa downloadable piece of software thatallows you to have all of Shakespeare’s38 plays instantly at your fingertips.Once you have it, there is no Internetconnection required. It also providesin-depth full-text searching to all ofShakespeare’s plays. You can alsodownload the text online from sites suchas www.opensourceshakespeare.org.Should I start with the movie?One disadvantage with watching a filmversion first is that students equatethis version with the play and havedifficulty realizing that scenes andWhat if I have never read the play before?Learn along with your students—modelfor them the enthusiasm and excitementthat comes with authentic learning.Are student projects helpful?Designing Globe Theatres out of sugarcubes and Popsicle sticks, designingcostumes, creating Elizabethannewspapers in the computer lab, doinga scavenger hunt on the Internet,or doing a report on Elizabethansanitary conditions has nothing todo with a student’s appreciation ofShakespeare’s language. If you wantto give students a project, have themselect, rehearse, and perform a scene.What is a “trigger scene?”A trigger scene is a short scene froma play that introduces the studentsto key characters and plot elements.Most important, the trigger sceneshows students that they can uncoverthe meaning of Shakespeare’s texts asthey “put the scene on its feet.”Tried and true triggerscenes for beginningShakespeare:Julius Caesar, 3.3(Cinna the poet is attacked by mob)Hamlet, 1.1(Ghost appears to soldiers)Macbeth, 1.3.38 onwards(Macbeth meets the witches)A Midsummer Night’s Dream, 1.2(The rustic actors are introduced)Much Ado About Nothing, 4.1(Beatrice urges Benedick to killClaudio)Othello, 1.1(Iago rudely awakens Brabantio)Romeo and Juliet, 3.5(Juliet angers her parents)The Taming of the Shrew, 2.1(The two sisters quarrel)Twelfth Night, 2.2(Malvolio returns ring to “Cesario”)Want More?Folger Education’s ShakespeareSet Free Toolkit is a comprehensiveresource for teaching Shakespeare,with lesson plans, activity guides,podcasts, videos, and otherteaching tools. Learn more atwww.folger.edu/toolkit.
JULIUS CAESAR LESSON PLAN 1PRE-READING FOR JULIUS CAESARMonisha BakerHampton High SchoolHampton, VAPlay/Scenes CoveredThis is a pre-reading activity for classesbeginning Julius Caesar. It may be adaptedfor use with other plays that focus onissues of friendship.Meeting the StandardsThis lesson plan covers NCTE Standards1,3,4,5, and 8.What’s On for Today and WhyStudents will examine some of the issuesof friendship and leadership that theywill encounter in reading Julius Caesar.Through creating “friendship committees”to develop a class friendship constitution,they will begin to think about many of theissues they will read about in the play.This lesson will take one to two 50-minuteperiods.What To Do1. Break your class into groups of fourto five students who will serve as a“friendship committee.” Each group isresponsible for listing ten qualities or traitsthat qualify a person as a friend. Theyshould also list five friendship infractionsthat could end the friendship.2. When the groups are done listing theirtraits, have each group elect a FriendshipConstitution Representative who willrepresent their group at a FriendshipSummit. The purpose of this summit willbe to derive a class Friendship Constitutionincorporating ideas from each group.3. Have the Friendship Summit meet infront of the whole class. The final FriendshipConstitution should include a representativeten friendship traits and five friendshipinfractions, selected from the individualgroups’ work. Each Representative shouldattempt to include at least two of his or hergroup’s ideas in the final Constitution. At theend of the process, the Summit should voteon its proposed Constitution.4. Conclude the exercise with a groupdiscussion about the overall task andabout the relationship of the task with theplay they are about to read. As far as thefinal friendship Constitution, what do theyfeel they would alter or change? Did theyfind the task meaningful? How did they likeworking on something so subjective witha group? Could they draw any conclusionsabout coming to a consensus in a largegroup? That question can lead into moreplay-specific questions: what is the role ofpersonal friendships in creating a groupgoverning structure? How easy is it tomaintain friendships in a political context?5. Post the friendship Constitution in theclassroom. As you read Julius Caesar,return to the Constitution when examiningthe actions of the main characters. Howoften do the characters live up to the classexpectations? How often are they in default?6. As an optional extension, createa Friendship Infraction Committee tomake decisions on friendship infractionsand other issues between friends. TheCommittee could also pass judgment onfriendship infractions in Julius Caesar.What You NeedFolger edition of Julius CaesarHow Did It Go?If students found the project a bit difficult, thatcan work as an excellent springboard to talkabout how difficult ruling Rome must havebeen in Caesar’s day. How complete were theyable to make their group handouts? Couldstudents identify the way personal friendshipsworked in the Summit process?Want more?Find more ideas and resources onteaching Julius Caesar atwww.folger.edu/teachingjuliuscaesar.
JULIUS CAESAR LESSON PLAN 2B E T R AYA L O R H O N E S T M I S TA K E ?Amy RosoffBaltimore City College High SchoolBaltimore, MDThis lesson takes two 50-minute classperiods to complete.Play/Scenes CoveredJulius Caesar 5.3From the Folger Shakespeare Library EditionWhat To Do1. Read the scene aloud from the openingthrough Titinius’ death (line 100), havingstudents take parts. This works best ifstudents read on their feet so that the effectof Titinius leaving, being presumed dead,and then reentering can be made clear.Meeting the StandardsThis lesson plan covers NCTE Standards3,4, 6, and 12.What’s On for Today and WhyJulius Caesar hinges largely on the themeof betrayal. Students must wrestle with thequestions that Brutus himself considers:Does loyalty come first to a friend, asuperior, a nation, or the self? Is betrayaljustified if it is committed out of loyalty tosome other, worthy cause? Shakespearepresents a microcosm of these largerquestions in the final act of the play bypresenting an ambiguous moment inwhich it is unclear whether a betrayal hasoccurred or not.In Act 5 scene 3, the character Pindarus,a bondsman to Cassius, says he haswitnessed the capture of the loyal soldier,Titinius. This devastating news serves asthe final straw for Cassius, who proceeds tokill himself, first freeing Pindarus. Pindarusruns off and immediately thereafter Titiniusenters, making it clear that Pindarus hasgiven Cassius a false report.This lesson asks students to consider themotivations of the character of Pindarus(i.e., Has he lied to Cassius, or has hemade an honest mistake?), and to makedecisions about how they would directthis scene based on their understandingof these motivations and the underlyingthemes of the play.2. Discuss the events of the scene, makingsure that students understand what hasoccurred. Discuss the various reasonsTitinius might have given a false report:a) The battle occurs at a distance sohe cannot see who is who; b) He lies toCassius to incite Cassius’ suicide and gain3. Divide students into six groups of threesix students per group.4. Explain that each group is going to usea different method to present the sceneand that by manipulating the scene, eachgroup’s scene will take a clear position onwhether Pindarus lies or makes a mistake.5. Assign each group a perspective anda method of “spinning” the scene. Usethe Betrayal or Honest Mistake Handoutto assign groups and clarify instructions.(Note: this lesson assumes that studentshave had practice with tableaux, editing,and the effect of inflection. If this is nottrue for students, consider choosing onlyone method and taking time to teach thismethod.)6. Give students 15–20 minutes to preparetheir scene. Groups of three will have onlya Cassius, Pindarus, and Titinius. Largergroups can include Messala and a director.7. Have students present their versionswith the two versions of each method,presenting one after the other so that thedifferences can be compared.8. Conduct a discussion in which studentstalk about which perspective they woulduse to portray this moment if they weredirecting the play. They should defend theirpositions by connecting this scene to othermoments and aspects of the play (i.e.,Based on your knowledge of the play, whichportrayal seems most in concert with theplay as a whole?)What You NeedFolger edition of Julius CaesarIndex cards or large post-itsPoster board or flipchart paperBetrayal or Honest Mistake HandoutHow Did It Go?To assess student’s ability to defend theirreading of the scene, conduct an “exit poll”in which students explain the reason theywould direct this scene one way or another.As they leave the room, have them attachtheir cards to a piece of poster board orflipchart paper, which is divided into twosides that represent “honest mistake” and“betrayal.” You can offer students feedbackon their responses based on the strength ofthe evidence they have offered. This visualwill provide an interesting index of the class’perspective on the play and its themes.Want more?Find more ideas and resources onteaching Julius Caesar atwww.folger.edu/teachingjuliuscaesar.
JULIUS CAESAR HANDOUTB E T R AYA L O R H O N E S T M I S TA K E ?GROUP 1: HONEST MISTAKEGROUP 4: BETRAYALPerspective: Your group’s performance will make it clearto the audience that Pindarus honestly believes thatTitinius has been captured.Perspective: Your group’s performance will make it clearto the audience (though not to Cassius) that thoughPindarus knows what has really happened, he claimsTitinius has been captured only to incite Cassius andgain his freedom.Method: Tableau VivantBegin with the actors frozen in a way that represents amoment or idea in the scene. Have each character sayone line and move to a new frozen position, creatinga second frozen image. The tableau must emphasizePindarus’ intention to make an honest report.Method : EditingCut lines from the text so what remains is a scene thatemphasizes Pindarus’ intention to betray Cassius.GROUP 5: HONEST MISTAKEGROUP 2: BETRAYALPerspective: Your group’s performance will make it clearto the audience (though not to Cassius) that thoughPindarus knows what has really happened, he claims Titinius has been captured only to incite Cassius’ suicideand gain his freedom.Method: Tableau VivantBegin with the actors in a way that represents a momentor idea in the scene. Have each character say one lineand move to a new, frozen position, creating a secondfrozen image. The tableau must emphasize Pindarus’intention to betray Cassius.GROUP 3: HONEST MISTAKEPerspective: Your group’s performance will make it clearto the audience that Pindarus honestly believes thatTitinius has been captured.Method : EditingCut lines from the text so what remains is a scene thatemphasizes Pindarus’ intent to give an honest report.Perspective: Your group’s performance will make it clearto the audience that Pindarus honestly believes thatTitinius has been captured.Method: Inflection and GesturesRead the scene so that the body language and the voiceinflection of the actors emphasize Pindarus’ intention togive an honest report.GROUP 6: BETRAYALPerspective: Your group’s performance will make it clearto the audience (though not to Cassius) that thoughPindarus knows what has really happened, he claimsTitinius has been captured only to incite Cassius andgain his freedom.Method: Inflection and GesturesRead the scene so that the body language and the voiceinflection of the actors emphasize Pindarus’ intentionto betray Cassius. (You may go as far as to suggest thatTitinius has conspired with Pindarus.)
Shakespeare most likely borrowedfrom historical sources for JuliusCaesar, including an Englishtranslation of Lives of the NobleGreeks and Romans by the Romanhistorian Plutarch.The line “constant as the northern star” (3.1.58) isused in the lyrics of the Joni Mitchell song “A Caseof You.” Tori Amos, Diana Krall, and Prince, as well asother artists, have recorded popular covers.Scholars generally believe that Shakespearewrote Julius Caesar in 1599, about the sametime he wrote the comedy As You Like It andthe history play Henry V. Julius Caesar wasfirst published in 1623, when it appeared inthe First Folio, the first collected edition ofShakespeare’s plays.Julius Caesar is based onan actual historical figureof the same name whomade himself ruler ofRome in 44BC.DID YOU KNOW?The first English-language film ofJulius Caesar was shot using collegestudents as the cast and crew atChicago’s Northwestern Universityin 1950. None of the actors werepaid, except for Charlton Heston, arecent Northwestern grad who wenton to become an Oscar winner andHollywood superstar.Denzel Washington played the roleof Brutus in a 2005 production ofJulius Caesar on Broadway.Learn more atwww.folger.edu/shakespeare.In 1599, a Swiss traveler named ThomasPlatter visited London and wrote about seeingJulius Caesar in his diary. This is the earliestrecorded mention of Julius Caesar and somescholars believe Platter may have seen one ofthe first performances of the play!
FAMOUS LINES AND PHRASESFROMJULIUS CAESARDid you know you’re quotingShakespeare when you say Beware the ides of March.Soothsayer 1.2.21The fault, dear Brutus, is not in our starsBut in ourselves Cassius 1.2.147–48But for mine own part, it was Greek to me.Casca 1.2.294–95Cowards die many times before their deaths;The valiant never taste death but once.Caesar 2.2.34–35Et tu, Bruté?—Then fall, Caesar.Caesar 3.1.85Cry “Havoc!” and let slip the dogs of war Anthony 3.1.299Friends, 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 often interrèd with their bones.Antony 3.2.82–85Ambition should be made of sterner stuff.Antony 3.2.101This was the most unkindest cut of all.Antony 3.2.195There is a tide in the affairs of menWhich, taken at the flood, leads on to fortune Brutus 4.3.249–50This was the noblest Roman of them all His life was gentle and the elementsSo mixed in him that nature might stand upAnd say to all the world “This was a man.”Antony 5.5.74,79–81Playbill for Julius Caesar. Winter Garden, New York, 1864. Folger Shakespeare Library.Romans, countrymen, and lovers, hear me for mycause Brutus 3.2.14–15
SUGGESTED ADDITIONALRESOURCESShakespeare Set FreeThe Shakespeare Set Free series offers innovative, performance-based approachesto teaching Shakespeare from the Folger Shakespeare Library, the world’s leadingcenter for Shakespeare studies. This volume includes unit plans on A MidsummerNight’s Dream, Romeo and Juliet, and Macbeth and day-by-day teaching strategies thatsuccessfully immerse students of every grade and skill level in the language and theplays themselves—created, taught, and written by real teachers in real classrooms.Other volumes focus on Hamlet, Henry IV, Part 1, Othello and Twelfth Night.Available at the Folger Gift Shop 202–675–0308, or www.folger.edu/shop.Shakespeare Set Free ToolkitThink of it as Shakespeare in a box! Everything you need to teach Shakespeare, allin one place: the Doing Shakespeare Right guide to getting started; Shakespeare SetFree curriculum guide; two-line scene cards; a flash drive with instructional videos,podcasts, handouts, scripts, and images; The Play’s the Thing DVD that follows a 5thgrade class preparing for a festival; and the Macbeth Edition DVD, which includes afilm of the smash 2008 Folger Theatre/Two River Theater Company production.Available at the Folger Gift Shop 202–675–0308, or www.folger.edu/shop.Play-by-Play: Julius CaesarFolger Education’s “Play-by-Play” website section contains resources on each ofthe most commonly taught plays, all in one place. Find Julius Caesar lesson plans,podcasts, videos, and more.Learn more at www.folger.edu/teachingjuliuscaesar.Making a Scene: Shakespeare in the ClassroomFolger Education’s blog features new ideas, tips, and resources for teachingShakespeare. With the teaching community commenting, Folger educators explorewhat works and what doesn’t in today’s classroom. Join the conversation!Learn more at www.folger.edu/edblog.Bard NotesA monthly update just for teachers with our newest classroom activities, lessonplans, teacher workshops, and more for K–12 educators.Learn more at www.folger.edu/enews.
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n Rome, people are celebrating the triumphant return of Julius Caesar, a noted general. A soothsayer advises Caesar that the fifteenth of March (the ides of March) will be a dangerous day for him. Two Roman nobles, Cassius and Brutus, discuss Caesar’s growing power. Cassius urges Brutus to oppose Caesar for fear that Caesar may become king.
CAESAR Calphurnia! CAESAR Calphurnia! CASCA Peace, ho! Caesar speaks. CASCA Quiet! Caesar's talking. CAESAR Calphurnia! CAESAR Calphurnia! CALPHURNIA Here, my lord. CALPHURNIA I'm here, my lord. 5 CAESAR Stand you directly in Antonius' way When he doth run his course. —Antonius! CAESAR
Calpurnia, Julius Caesar’s wife. Octavius, Julius Caesar’s great nephew and adopted son. A politician after Caesar’s death. Mark Antony, a Roman general, politician, and supporter of Julius Caesar. Lepidus, a Roman military leader, politician, and supporter of Julius Caesar. Conspirato
The Tragedy of Julius Caesar is the tragic true story of the betrayal and assassination of Roman ruler Julius Caesar in 44 b.c. After successfully conquering much of the ancient world, Caesar is invited to lead the Roman Empire. Cassius and other members of the Roman senate fear that Caesar will become a power-hungry dictator. They
The Tragedy of Julius Caesar Story Summary The Tragedy of Julius Caesar is the tragic true . Caesar is invited to lead the Roman Empire. Cassius and other members of the Roman senate fear that Caesar will become a power-hungry dictator. They decide Caesar must be stopped. They enlist Caesa
Julius Caesar Study Guide Setting: Ancient Rome 44 B.C. The play takes place before Rome developed into an empire. Julius Caesar has just defeated Pompeii after a long civil war. He returns to Rome triumphantly and is in a position to take power. Some people are concerned because dictators have taken power before. Characters: Julius Caesar Although
TouchCast // Julius Caesar Lesson Plan Overview This lesson plan is about Julius Caesar and the question of why it is relevant to study Julius Caesar today. This question will be introduced to students via TouchCast by the teacher. Then, the students will create their own modern versions of Julius Caesar and will reenact a scene using TouchCast.
JULIUS CAESAR Julius Caesar was born on July 12 or13, 100 B.C.E. into an aristocratic family, the gens Julia. Although noble, their family was not one of particular political influence. In 85 B.C.E. Julius's father died, making him head of the family at the age of 15. Caesar's first important appointment was as the high priest of Jupiter .
Beyond Illustration aims to survey recent, pioneering research in the application of visualisation technologies in archaeology, moving beyond the tacit assumption that visualisation is only for teaching and illustration, and employing the computer model as a research tool to generate new archaeological knowledge.
