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Julius Caesar: Irony

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Believing that Caesar might change his nature after he is crowned, Brutus makes up his mind to join the conspirators planning to kill Caesar. The very motivation by which Brutus joins to conspirators is fairly ironic. By making the ironic judgement, Cassius brings about his own death by killing Caesar. Cassius believed he was repressed under Caesar and could shake off his bondage by killing him but, though Caesar is removed, Cassius keeps bearing the ironical bondage under which his opinions are always neglected by Brutus. When Brutus kills Caesar to prevent the future tyranny of Rome, he talks about the attributes of the spirit of Caesar which is common to all, but ironically he himself shows the spirit of Caesar. As the ghost of dead Caesar tells to Brutus, he has Caesar’s evil spirit. He does not realize this reality until the time of his death. The whole process of the story is ironical in which Brutus and other conspirators construe the situation they are in after their own fashion. By the fact that Brutus is called an honorable man by all other characters Shakespeare seems to ask us whether Brutus is truly an honorable man or a more cunning hypocrite. Because at the beginning of the drama Cassius says to Brutus he becomes a glass in which Brutus can discover his own self. Brutus, however, does not realize his true identity by watching his own self reflected in the glass of Cassius. He shows his ironical self-righteousness to the end and is avenged by killing himself with the same sword he used to kill Caesar. Showing from the individual behaviors of the characters to most of the situations of the drama, many forms of verbal ironies and situational ironies are used by which Shakespeare makes us remind of human beings’ ambivalent nature and many ironies of life itself.

Abstract

Believing that Caesar might change his nature after he is crowned, Brutus makes up his mind to join the conspirators planning to kill Caesar. The very motivation by which Brutus joins to conspirators is fairly ironic. By making the ironic judgement, Cassius brings about his own death by killing Caesar. Cassius believed he was repressed under Caesar and could shake off his bondage by killing him but, though Caesar is removed, Cassius keeps bearing the ironical bondage under which his opinions are always neglected by Brutus. When Brutus kills Caesar to prevent the future tyranny of Rome, he talks about the attributes of the spirit of Caesar which is common to all, but ironically he himself shows the spirit of Caesar. As the ghost of dead Caesar tells to Brutus, he has Caesar’s evil spirit. He does not realize this reality until the time of his death. The whole process of the story is ironical in which Brutus and other conspirators construe the situation they are in after their own fashion. By the fact that Brutus is called an honorable man by all other characters Shakespeare seems to ask us whether Brutus is truly an honorable man or a more cunning hypocrite. Because at the beginning of the drama Cassius says to Brutus he becomes a glass in which Brutus can discover his own self. Brutus, however, does not realize his true identity by watching his own self reflected in the glass of Cassius. He shows his ironical self-righteousness to the end and is avenged by killing himself with the same sword he used to kill Caesar. Showing from the individual behaviors of the characters to most of the situations of the drama, many forms of verbal ironies and situational ironies are used by which Shakespeare makes us remind of human beings’ ambivalent nature and many ironies of life itself.

참고문헌 (16)

  1. Baldick, Chris, "The Concise Oxford Dictionary of Literary Terms" (2001), Oxford UP
  2. Bloom, Harold, "Shakespeare: The Invention of the Human" (1998), Penguin Putnam
  3. Daiches, David, "Shakespeare’s Tragedies", pp.39~45 (1982), Penguin
  4. Evans, Bertrand, "Shakespeare’s Tragic Practice" (1979), Clarendon P
  5. Gregson, James, "Public & Private Man in Shakespeare" (1983), Biddles
  6. Holderness, Graham, "Shakespeare: The Roman Plays" (1996), Longman
  7. Honigmann, E.A.J., "Shakespeare: Seven Tragedies Revisited" (2002), Palgrave P
  8. Kahn, Coppelia, "Roman Shakespeare" (1997), Routledge
  9. Knight, Wilson, "Shakespeare’s Dramatic Challenge" (1977), Croom Helm
  10. Langley, Eric, "Narcissism and Suicide in Shakespeare and his Contemporaries" (2009), Oxford UP
  11. Magnus, Bernd, "The Cambridge Companion to Nietzsche" (1996), Cambridge UP
  12. Miles, Geoffrey, "Shakespeare and the Constant Roman" (1996), Clarendon P
  13. Muecke, D.C., "Irony" (1970), Methuen
  14. Shakespeare, William, "Julius Caesar" (1988), Cambridge UP
  15. Smidt, Kristian, "Unconformities in Shakespeare’s Tragedies" (1989), Macmillan
  16. Wells, Robin Headlam, "Shakespeare’s Humanism" (2005), Cambridge UP

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