يوليوس قيصر (مسرحية)

Within the Tent of Brutus: Enter the Ghost of Caesar, Julius Caesar, Act IV, Scene III, a 1905 portrait by Edwin Austin Abbey

يوليوس قيصر مسرحية تراجيدية لـ وليم شكسبير . تتكون من 5 فصول . استمد شكسبير موضوعها و حوادثها من حياة يوليوس قيصر و ماركوس أنطونيوس . يعتقد النقاد أنهه المسرحية الأولى من المسرحيات الرومانية الثلاث التي كتبه شكسبير . أما المسرحيتين الآخرتين هما " انطونيو و كليوبتر " و " كوريولانس " .

In the play, Brutus joins a conspiracy led by Cassius to assassinate Julius Caesar, to prevent him from becoming a tyrant. Caesar's right-hand man Antony stirs up hostility against the conspirators and Rome becomes embroiled in a dramatic civil war.

 الملخص

The play opens with two tribunes Flavius and Marullus (appointed leaders/officials of Rome) discovering the commoners of Rome celebrating Julius Caesar's triumphant return from defeating the sons of his military rival, Pompey. The tribunes, insulting the crowd for their change in loyalty from Pompey to Caesar, attempt to end the festivities and break up the commoners, who return the insults. During the feast of Lupercal, Caesar holds a victory parade and a soothsayer warns him to "Beware the ides of March," which he ignores. Meanwhile, Cassius attempts to convince Brutus to join his conspiracy to kill Caesar. Although Brutus, friendly towards Caesar, is hesitant to kill him, he agrees that Caesar may be abusing his power. They then hear from Casca that Mark Antony has offered Caesar the crown of Rome three times. Casca tells them that each time Caesar refused it with increasing reluctance, hoping that the crowd watching would insist that he accept the crown. He describes how the crowd applauded Caesar for denying the crown, and how this upset Caesar. On the eve of the ides of March, the conspirators meet and reveal that they have forged letters of support from the Roman people to tempt Brutus into joining. Brutus reads the letters and, after much moral debate, decides to join the conspiracy, thinking that Caesar should be killed to prevent him from doing anything against the people of Rome if he were ever to be crowned.

"Julius Caesar", Act III, Scene 2, the Murder Scene, George Clint (1822)

After ignoring the soothsayer, as well as his wife Calpurnia's own premonitions, Caesar goes to the Senate. The conspirators approach him with a fake petition pleading on behalf of Metellus Cimber's banished brother. As Caesar predictably rejects the petition, Casca and the others suddenly stab him; Brutus is last. At this, Caesar asks "Et tu, Brute?" ("And you, Brutus?"), concluding with "Then fall, Caesar!"

Herbert Beerbohm Tree (1852–1917), as Mark Anthony in 'Julius Caesar' by William Shakespeare, Charles A. Buchel (1914)

The conspirators attempt to demonstrate that they killed Caesar for the good of Rome, to prevent an autocrat. They prove this by not attempting to flee the scene. Brutus delivers an oration defending his actions, and for the moment, the crowd is on his side. However, Antony makes a subtle and eloquent speech over Caesar's corpse, beginning "Friends, Romans, countrymen, lend me your ears!" He deftly turns public opinion against the assassins by manipulating the emotions of the common people, in contrast to the rational tone of Brutus's speech, yet there is a method in his rhetorical speech and gestures. Antony reminds the crowd of the good Caesar had done for Rome, his sympathy with the poor, and his refusal of the crown at the Lupercal, thus questioning Brutus's claim of Caesar's ambition; he shows Caesar's bloody, lifeless body to the crowd to have them shed tears and gain sympathy for their fallen hero; and he reads Caesar's will, in which every Roman citizen would receive 75 drachmas. Antony, even as he states his intentions against it, rouses the mob to drive the conspirators from Rome. The mob takes Caesar's body to the Forum, lights his funeral pyre, and uses the pyre to light up torches for burning down the homes of the conspirators. Amid the violence, an innocent poet, Cinna, is confused with the conspirator Lucius Cinna and is taken by the mob, which kills him for such "offences" as his bad verses.

Brutus then attacks Cassius for supposedly soiling the noble act of regicide by having accepted bribes. ("Did not great Julius bleed for justice' sake? / What villain touched his body, that did stab, / And not for justice?") The two are reconciled, especially after Brutus reveals that his beloved wife committed suicide under the stress of his absence from Rome; they prepare for a civil war against Antony, Caesar's adopted son Octavius, and Lepidus who have formed a triumvirate in Rome. That night, Caesar's ghost appears to Brutus with a warning of defeat. (He informs Brutus, "Thou shalt see me at Philippi.")

The ghost of Caesar taunts Brutus about his imminent defeat. (Copperplate engraving by Edward Scriven from a painting by Richard Westall: London, 1802.)

At the Battle of Philippi, Cassius and Brutus, knowing that they will probably both die, smile their last smiles to each other and hold hands. During the battle, Cassius has his servant kill him after hearing of the capture of his best friend, Titinius. After Titinius, who was not captured, sees Cassius's corpse, he commits suicide. However, Brutus wins that stage of the battle, but his victory is not conclusive. With a heavy heart, Brutus battles again the next day. He asks his friends to kill him, but the friends refuse. He loses and commits suicide by running on his sword, held for him by a loyal soldier.

Henry Fuseli, The Death of Brutus, a charcoal drawing with white chalk (1785ح. 1785)

The play ends with a tribute to Brutus by Antony, who proclaims that Brutus has remained "the noblest Roman of them all" because he was the only conspirator who acted, in his mind, for the good of Rome. There is then a small hint at the friction between Antony and Octavius which characterizes another of Shakespeare's Roman plays, Antony and Cleopatra.

Antony (George Coulouris) kneels over the body of Brutus (Orson Welles) at the conclusion of the Mercury Theatre production of Caesar (1937–38)

 شخصيات المسرحية

ينقسم أشخاص المسرحية إلى ( أ ) قيصر و جماعته . و ( ب ) المتآمرين .

( أ ) قيصر و جماعته :

قيصر - حاكم روما الذي يأمل بمزيد من السلطان .

كالبورنيا - زوجة قيصر .

مارك أنطونيو - صديق حميم لقيصر .

أوكتافيوس قيصر - ابن أخ قيصر و وريثه .

ماركوس ايميليوس ليبدوس - يحكم روما مع أنطونيو و أوكتافيوس بعد اغتيال قيصر .

( ب ) المتآمرون :

ماركوس بروتوس - أحد قادة المتآمرين الذين ينوون قتل يوليوس قيصر . يفكر دوما بمصلحة بلاده .

بروشيا - زوجة بروتوس .

كايوس كاسيوس - أحد القادة المتآمرين و لولب المؤامرة .

كاسكا - شريف و نبيل من نبلاء روما ، لكنه متعجرف .

تريبونيوس ، ليغاريوس ، متلوس سمبر - بقية المتآمرين على القيصر .

فليفيوس ، مارولوس - المدافعين عن حقوق العامة المناهضين للقيصر .

لوشيليوس ، تيتينيوس ، ميسالا ، كاتو ، فولو منيوس - أصدقاء تابعون لبروتوس و كاسيوس .

فارو ، كليتوس ، كلوديوس ، ستراتو ، لوشيوس ، دار دانيوس - خدم بروتوس .

بينداروس - خادم كاسيوس .

 بناء المسرحية

بناء مسرحية يوليوس قيصر يتبع القاعدة الكلاسيكية .

الفصل الأولى : يصف الحالة ، كأسباب العداء المتزايد تجاه قيصر .

الفصل الثاني : يتطور العداء إلى مؤامرة ضد قيصر و التخلص منه .

الفصل الرابع : يمهد إلى الحل ، اذ يؤكد اقتراب نهاية المتآمرين .

الفصل الخامس : ينتهي بمأساة المتآمرين .

 انظر أيضاً

• 1599 in literature
• Assassinations in fiction
• Caesar's Comet
• Mark Antony's Funeral Speech
• "The dogs of war"
• List of idioms attributed to Shakespeare

 المراجع

 ببليوجرافيا

• Boyce, Charles. 1990. Encyclopaedia of Shakespeare, New York, Roundtable Press.
• Chambers, Edmund Kerchever. 1923. The Elizabethan Stage. 4 volumes, Oxford: Oxford University Press. ISBN 0-19-811511-3.
• Halliday, F. E. 1964. A Shakespeare Companion 1564–1964. Shakespeare Library ser. Baltimore, Penguin, 1969. ISBN 0-14-053011-8.
• Houppert, Joseph W. "Fatal Logic in 'Julius Caesar'". South Atlantic Bulletin. Vol. 39, No. 4. Nov. 1974. 3–9.
• Kahn, Coppelia. "Passions of some difference": Friendship and Emulation in Julius Caesar. Julius Caesar: New Critical Essays. Horst Zander, ed. New York: Routledge, 2005. 271–83.
• Parker, Barbara L. "The Whore of Babylon and Shakespeares's Julius Caesar." Studies in English Literature (Rice); Spring '95, Vol. 35 Issue 2, p. 251, 19p.
• Reynolds, Robert C. "Ironic Epithet in Julius Caesar". Shakespeare Quarterly. Vol. 24. No.3. 1973. 329–33.
• Taylor, Myron. "Shakespeare's Julius Caesar and the Irony of History". Shakespeare Quarterly. Vol. 24, No. 3. 1973. 301–8.
• Wells, Stanley & Michael Dobson, eds. 2001. The Oxford Companion to Shakespeare, Oxford University Press

 وصلات خارجية

• Text of Julius Caesar, fully edited by John Cox, as well as original-spelling text, facsimiles of the 1623 Folio text, and other resources, at the Internet Shakespeare Editions
• Julius Caesar Navigator Includes Shakespeare's text with notes, line numbers, and a search function.
• No Fear Shakespeare Archived 23 نوفمبر 2015 at the Wayback Machine Includes the play line by line with interpretation.
• Julius Caesar Archived 21 يوليو 2016 at the Wayback Machine at the British Library
• قالب:StandardEbooks
• Julius Caesar, available at Project Gutenberg.
• Julius Caesar – by The Tech
• Julius Caesar – Searchable and scene-indexed version.
• Julius Caesar in modern English
• Julius Caesar translated into Latin by Dr. Hilgers
• Lesson plans for Julius Caesar at Web English Teacher
• قالب:Librivox book
• Quicksilver Radio Theater adaptation of Julius Caesar, which may be heard online, at PRX.org (Public Radio Exchange).
• Julius Caesar Read Online in Flash version.
• Clear Shakespeare Julius Caesar – A word-by-word audio guide through the play.