For my money, Julius Caesar is simply Billy Shakespeare’s best ever play. I mean, what’s not to like in it? It has some stonking great speeches in it – including one of his top five ever (Marc Antony’s “Friends, Romans, countrymen….”) as well as a passel of memorable lines you can quote at parties (Who among my readers hasn’t passed off a quick “Cry havoc, and let slip the dogs of war…” just for effect?).
Plus it has a conspiracy, a murder, a riot, a battle, and a couple of suicides to gussy up the action. Treachery, betrayal, loyalty, raw ambition, backstabbing, front-stabbing, ghosts… really: what’s not to like?
It’s short and brisk, so it can be read in an evening and the plot followed easily enough, even by a non-academic. It’s bereft of the knotty love-action that makes you scratch your head and wonder which twin is onstage and why. WS eschewed his usual love for complicated metaphors, and hidden meanings when writing it, so almost anyone can understand it.
And on top of that, it’s all about politics and Billy the Bard was in his best game when writing about politics. Like I said, what’s not to like?
And then there’s the whole mess of subtext about manliness and masculinity, about friendship and loyalty, about power, about the conflict between reason and passion, about the nature of the state and the greater good, and whether it’s okay to kill someone for a Big Reason like saving the republic.
Like every other Shakespearean play, it’s about the complexity of being human and interacting with other conflicted humans. The issues, the insights, the internal tug-of-war over ethics and morals, the passions and lusts – they were the same in his day as they are in ours, and he makes them accessible by weaving them into great stories. That’s why the Bard is still so relevant today.