How to Throw a Fairies Themed Midsummer Night Dream Party (Quarantine Safe Edition)

Happy Midsummer everyone! Wednesday June 24rth is the Midsummer festival, which means as you go to sleep that night, I wish you all Midsummer Night Dreams! Before that though, I welcome you to party like it’s the court of King Oberon, and here are some ideas:

Background: What Are Fairies?

The story of Fairies has many authors that come from multiple folkloric traditions. The Greeks had nymphs, the Romans had cupid, and the English and Germans had…

1.  According to Paracelsus, fairies are elemental spirits that help control the Earth’s four elements: Silfs (air), gnomes (Earth), Salamanders (fire), and  Undines (water).
2. In some versions, they are household creatures that interact with humans
3. Some cultures call them demoted Angels, not good enough for Heaven, but not bad enough for Hell.

So you can see there are lots of traditions that contribute to our modern concept of the fairy, and plenty of ideas to adapt into your party!

Part One: The Invitation:

There’s a ton of free fairy clip art and fairy designs online. Below is an invitation I created for free with an app called Canva and a parchment background picture I found online.

1. Pixie invitations
2. Immortal Longings

Second card design I created on Canva.

You probably also know that I am a huge fan of the website Immortal Longings because of their excellent Shakespearean art and they sell cards too. You can buy the cards or download the pictures on their website.

Shakespearean Greeting Cards from Immortal

Part Two: Decorations

Fairy Dens Right now the Royal Shakespeare Company is making DIY Fairy decorations including a Fairy Den that you can share with your family and friends:

What is a Fairy Den? Fairies in folklore are closely tied to the Ancient Celts and Druids, who believed that Fairies live in hollow places underground. A fairy den is a homemade den that imitates the ancient fairy hollows.

Workshop on Fairy Dens and Fairy Lanterns:

Fairy lights from IKEA

In addition to fairy dens, there are tons of fairy lights, fairy coloring books, and other fairy crafts you can find. Here is a fairy lantern my wife made using pickle jars!

First paint the jars with white paint and cut out paper fairies to paste around the inside of the jar (we used tackey glue). You can also stick star stickers on the inside of the jars.
For added realism, you can glue fake moss to the bottom of the jar. We got this from our local dollar store.
Put a small battery powered LED light inside.
Turn on the LED lights and take the lanterns somewhere dark.
Detail of the fairy lights.

Part ThreeThe Feast

Since the Fairies in Midsummer are woodland spirits, almost any forest or camping themed recipes can be adapted. Here are some ideas that my wife and I made for our own fairy themed party.

Snail sandwiches

Hedgehog cheese ball.

Hedgehog cheese ball:

Fruit wands with yogurt dip


Chocolate GardenCake from How to Cook That:

Fairy bread: For those of you who don’t live in Australia or New Zealand, Fairy bread is white bread covered in

Homemade Fairy bread



  • Dance of the Sugarplum Fairies


1.  Pin the tail on the Bottom.

2. Love potion: Similar to follow the leader or musical chairs. A group of people lie down and pretend to sleep. Then someone plays Puck by putting a real or pretend flower in one of the player’s hands. The Puck then yells “Awake,” and sets a timer or plays some music. The object of the game is for everyone to chase after the flower and get it before time runs out.


Make some printable donkey masks for Bottom, flower crowns for the fairies, and don’t forget your wings!

Well, that’s my advice, happy  Midsummer everyone!

Tolkein, JRR. On Fairy Stories

Shakespeare plays to watch in Quarantine

Happy Shakespeare’s Birthday everyone!

While I am just as sad as everyone else that the theaters are closed due to coronavirus, I’m happy to report that a number of Shakespearean theaters are putting up recordings of their shows online for free! Give them a watch if you can:

1. Romeo and Juliet at the Globe:

2. Macbeth at the Folger Shakespeare Library:

3. Taming Of the Shrew from the Show Must Go Online:

As the thumbnail shows, this is a staged reading of the play by actors over Zoom. I enjoy staged readings because you can hear Shakespeare’s words and use your imagination to create the show in your head.

4. The Tempest from the Royal Shakespeare Company:

Happy birthday Bill!

I want to hear from you

Hello everybody.

Since most schools are still closed due to Covid 19, many parents, teachers, and students are learning online. In this time of crisis, I want to try and help, so I’m asking for advice from you on what Shakespearean resources you want me to make/ review on this blog:

  • What plays do you need resources for but can’t find?
  • Want to know if a site or app is any good? Let me know and I’ll review it!
  • Need lesson plans or study help? I’ll post some links.

For now, you can check out my activities teachers and student pages which includes lesson plans and ideas for specific plays, as well as reviews of educational apps and websites. You can also check out my plays of the month pages, which helps analyze plays for students and teachers.

Just today I found an activity for finding figurative language on the seesaw app:


This is just a start, I know, but I want this blog to help people enjoy and understand Shakespeare and if I can ease the burden of teachers and parents who are already struggling during this difficult time, I can think of nothing more worthwhile.

-Shakespearean student:


Shakespeare On Epidemics

My purpose with this post is to provide some hope and comfort by showing how Shakespeare and other Elizabethans dealt with epidemics and survived. The thing to remember is, although we are dealing with a pandemic, we are still far better prepared for it than any time in history. Furthermore, I want to draw on lessons from the past to offer hope and wisdom for people going through an epidemic.

Side note: Shakespeare refers to several diseases in his plays including “The plague,” (Bubonic Plague), “The Pox,” (syphilis), “Dropsy,” (edema), and “Falling sickness,” (epilepsy). I will mainly focus on the plague because of its strong connection to both Shakespeare’s life and career, as well as the continuing anxiety it causes to this day. I am also focusing on the plague to try and make parallels with Covid 19, a disease that, while less lethal and harder to detect, is still a pandemic that like the plague has transformed much of daily life since its inception, and could continue to grow, abate, and revive if we as a society aren’t careful.

Shakespeare’s plays also frequently allude to plagues and plague imagery, especially his most famous play, Romeo and Juliet. First of all plague is an important plot element; an outbreak of plague prevents Romeo from getting the message that Juliet is alive, so plague inadvertently kills them both. Furthermore, plague serves as a motif for the destructive forces that lead to the plays tragic conclusion. After Mercutio curses “A plague on both your houses,” his death sets the events in motion that kills most of the principal the characters, as if his curse somehow infected all of them with a deadly virus.

Immortal Longings Artwork for “Romeo and Juliet” by Elizabeth Schuh, used with permission.

Shakespeare exploited a unique cultural knowledge of plagues to help his audience engage with Romeo and Juliet. If you click on the link to my presentation above, you’ll see that Elizabethans believed that four liquids called humors controlled health and behavior. A humorous man was someone who was out of ballance with the humours and thus was ridiculous for failing to control his emotions. The humor choler was associated with anger and in dangerous imbalances was thought to cause terrible fevers and even plague. Hence, when characters like Romeo and Tybalt get angry, his audience knew that one way or another, that anger will kill them.

Medieval illustration of the four humours. Top left to bottom right; Phlegm, Blood (Sanguine), Melancholy, (black bile), and choler (yellow bile).

Shakespeare also uses plague as a metaphor for the hate of the two families that infects and kills the young lovers, as well as Tybalt, Paris, and Mercutio.

The play was first published in 1595, two years after a plague outbreak so bad that the theaters were all closed, so Shakespeare’s audience had a visceral reaction to this plague imagery when they saw it in the theater, especially after a year of being quarantined away from the theaters because of that exact same disease!

Saint Sebastian pleads with Jesus for the life of a gravedigger afflicted by plague during the Plague of Justinian. (Josse Lieferinxe, c. 1497–1499)

Scourge and minister”: some of Shakespeare’s plays mention plague indirectly in relation to its perceived nature as a divine punishment. In Hamlet, the prince calls himself a scourge, which meant both a plague designed to destroy the wicked, and also a group of people who voluntarily scourged (whipped) themselves in the hope that God would end the disease as a result of their suffering.

Woodcut of flagellants (Nuremberg Chronicle, 1493).

Richard the Third is Shakespeare’s embodiment of this kind of plague scourge. In Shakespeare’s first cycle of four history plays, we see the families of York and Lancaster take turns usurping the throne, and committing numerous acts of murder, treason, and blasphemy. In the play that bears his name, Richard kills the Yorkist royal family and then is murdered himself by Henry Tudor, systematically destroying the families of York and Lancaster. Thus, in Shakespeare’s propaganda version of history, he depicts Richard as a scourge who purges the throne of usurper and traitors, and paves the way for the “virtuous,” Henry Tudor and his dynasty.

The Real Plague
The black death, also known as Bubonic Plague, was first documented in 1347. Like Covid 19 it was first discovered in China, though it might not have originated there. Some historians argue that the Huns might have carried the plague into China and trade routes from the East carried it into Europe. By 1349 it reached England.
Everyone knew what to look for from those infected with the plague: first came fevers and chills. The next stage was the appearance of small red boils on the neck, in the armpit or groin. These lumps, were called buboes, (hence the term Bubonic Plague)

The buboes grew larger and darker in colour as the disease grew worse. From there the victim would begin to spit blood, which also contaminated with plague germs, making anyone able to spread the disease by coughing. The final stage of the illness was small, red spots on the stomach and other parts of the body caused by internal bleeding, and finally death.

We see death coming into our midst like black smoke, a plague which cuts off the young, a rootless phantom which has no mercy or fair countenance. Woe is me for the shilling in the armpit. . . It is an ugly eruption that comes with unseemly haste. It is a grievous ornament that breaks out in a rash. The early ornaments of black death.-Jevan Gethin, poet who died from plague in 1349.

Detail from The Temptation of St Anthony, 1512. Note the swollen buboes on the stomach, arms, and legs.

John Flynn, an Irish Friar described the plague in apocalyptic terms, writing a journal for posterity, but expressed doubt that ” Any of the race of Adam would even survive.” With the horrifying spread of the epidemic, it is not hard to understand why Flynn felt that way: In 1348, there were 100,000 people living in London, but after the plague spread, the city lost 300 people every day! “treatments”Plague carts like in Monty Python (Dreary) carried plague bodies out of the city and burned them.
• In France, bodies were thrown in rivers (Deary)

  • Quarentines: The word quarantine is Italian for 40 days. It refers to the Venetian practice of taking suspected plague victims to an island for 40 days before allowing them to enter Venice or other populated areas. The rationale was that in the Bible, the number 40 occurs many times when a person or group of people require some form of purification; the 40 days of flooding in Genesis, the 40 years that the Jews journey to the promised land, and the 40 days of fasting Christ endured before he began his ministry to name a few examples. Bubonic plague has an incubation period of less than 40 days so the quarantine actually worked- people would go to the island, then the disease would run its course and not spread out as long as it was contained. The problem was that these quarantines were also essentially leper colonies and without treatment, the infected were basically sent to die.

Social distancing in Elizabethan England

By 1564, the year Shakespeare was born, there had been several outbreaks, but also a system designated to contain the disease. The rich went to the country. Plague bodies were burned. Theaters were closed to keep the disease from spreading. There were also body inspectors, (similar to coroner’s or death investigators today,) who inspected the bodies to look for the cause, then burned them and the clothes. Funerals for plague victims were held at night, to discourage crowds from attending, similar to our own practice of encouraging people to shop and go outside during non-peak hours.

Treating” it: The biggest comfort I can give here is to remind people that although like the plague, we are dealing with a disease with no known cure, we still have a much better understanding of how to treat viruses than our Elizabethan forebears. Some of the “cures,” from Shakespeare’s day are downright silly, when they aren’t expensive, dangerous, and above all, ineffective.

Real plague “cures”
• Kill cats and dogs
• A poultice made of Marigold flowers and eggs
• Arsenic powder (which is highly toxic)
• Crushed emerald powder.
• Pluck a chicken and place its butt on the patient’s buboes.

To bring the aftermath of the plague into a modern context, I’d like to allude to some comments from the news. Recently a few Republicans have alluded that the cost of people staying home from work would cause irreparable harm to the American economy, and alluded to the notion that a few deaths might actually benefit the economy as a whole, including Texas Lieutenant Governor Dan Patrick and Republican pundit Glenn Beck.
Now at first glance these comments are gruesome and heartless, but they have a veneer of historical precedent: some people did prosper because of the black death. Laborers could charge more from their landlords simply because most of them had died, and some younger men managed to skirt the laws of primogeniture and inherit their families’ wealth because of the death of their oldest siblings. Shakespeare himself was the third child of Mary and John Shakespeare, but his elder siblings both perished due to plague. Again, to be fair to these Republicans, there is a historical facet to their arguments, however this is a very narrow and very incomplete version of history.

Looking forward from the first century after the Black Death, the loss of life and resources was devastating for the workforce and caused a series of catastrophes for centuries to come. Though some peasants benefited from the lack of serfs, the depleted workforce meant work became harder and more expensive, and the coming centuries were plagued again by revolts, wars, and famine.

Wat Tyler, leader of the Peasants Revolt, rides out to negotiate with King Richard’s army.

Just 30 years after the first outbreak of plague in England, the peasants rose in revolt against their lords for the first time in 300 years, in no small part, due to the hardships caused by the plague. The king who

Portrait of King Richard the Second

The king who punished the peasants was Richard Richard the Second, whom Shakespeare famously dramatized as an arrogant, egomaniacal, incompetent man-child who was eventually deposed and executed in the Tower of London. I think certain people who are tempted to “make sacrifices,” to protect the American economy would do well to look at this historical tragedy and avoid the political consequences of this kind of thinking.

In conclusion, though we are dealing with a frightening pandemic that we currently don’t know how to treat, we can take comfort from the fact that our forebears faced far worse diseases and survived. History has shown that social distancing works and that basic sanitation and the tireless work of healers and scientists can slow a disease, cause it to ebb, and eventually irradicate it. But until science discovers a treatment for Covid-19, it is up to all of us to flatten the curve for the sake of our country, world, and our future.

Like I have said, the working poor as a whole, suffered greatly because of the plague, especially since they were denied the means to avoid it. They lived in tightly packed, unsanitary environments and were unable to leave them without their lord’s permission, whereas we have a choice. This why it is crucial that we all do our part by staying away from crowds, observing proper hygiene, and offering support to our healthcare workers who are on the front lines of this war against coronavirus, and for whom we all pray for to stay healthy in turn.

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Crafting a Character: Brutus

Happy Ides of March every one. I hope you have enjoyed all the posts for my Roman week. If I have time, I will try to post a few more, since I have not touched on Cymbaline or Titus Andronicus.This will not be an in depth character analysis. I won’t go into every scene and speech of Brutus’. My goal is to look at the history and the actions of Brutus in the play to show why he is such an amazing and ambigous character.

Marcus Brutus was born in 85 BC. Shakespeare’s source for the play, Plutarch’s lives of the Noble Greeks and Romans, mentions that his desire to kill Caesar might have been tied to his family: Brutus’ ancestor was Lucius Junius Brutus, the man who drove out the last king of Rome, and first consul. Below is the famous painting of Lucius foiling a plot to restore the monarchy, but to do so, he had to sentence his own sons to death:

Jaques Louis David, The Lictors Bring to Brutus the Bodies of His Sons, 1789.

This was how seriously the Brutus family took defending the Roman Republic, they valued it even beyond their own family.

Brutus’ mother was Servilia, half sister of Caesar’s longtime critic, the senator Cato. He even married Cato’s daughter Portia! So you can see that once Caesar starts acting like a king, Brutus must have felt a tremendous amount of pressure from his Family to stay true to his Republican ideology. On the other hand, Servillia was actually Caesar’s mistress and Brutus owed his life to Caesar. After Brutus fought against Casesar, they reconciled after the Battle of Pharsalus in 48 BC:

Most of those who were taken alive Caesar incorporated in his legions, and to many men of prominence he granted immunity. One of these was Brutus, who afterwards slew him. Caesar was distressed, we are told, when Brutus was not to be found, but when he was brought into his presence safe and sound, was pleased beyond measure- Plutarch, retrieved from:*.html

Despite his close ties to Caesar, Brutus chose to betray and assassinate him, so the question remains, why?

In the play and in Plutarch, Brutus is persuaded by Cassius Longinus, his brother in law and colleague in the Roman Senate. As you remember from my post on “Friends, Romans, Countrymen,” there are three basic kinds of persuasive speech, and Cassius uses all three:

1. Ethos “If you do know that I do fawn on men, and hold them hard, and after scandal them… then hold me dangerous.”

2. Logos- Cassius points out a series of embarrassing stories about Caesar that set up the following argument:

• Caesar is weak and frail

• Gods cannot be frail

• Why is Caesar treated like a god?

3. Pathos

• The people

• Fear of tyranny

• Brutus’ family honor- this is the real knife that kills any doubt Brutus had. Cassius reminds Brutus of his ancestor Lucius and how he would rather die than see a king in Rome again.

The soliloquy

Brutus. It must be by his death: and for my part,
I know no personal cause to spurn at him,

But for the general. He would be crown’d:
How that might change his nature, there’s the question.
It is the bright day that brings forth the adder;
And that craves wary walking. Crown him?—that;—
And then, I grant, we put a sting in him,
That at his will he may do danger with.
The abuse of greatness is, when it disjoins
Remorse from power: and, to speak truth of Caesar,
I have not known when his affections sway’d
More than his reason. But ’tis a common proof,
That lowliness is young ambition’s ladder,
Whereto the climber-upward turns his face;
But when he once attains the upmost round.
He then unto the ladder turns his back,
Looks in the clouds, scorning the base degrees
By which he did ascend. So Caesar may.
Then, lest he may, prevent. And, since the quarrel
Will bear no colour for the thing he is,
Fashion it thus; that what he is, augmented,
Would run to these and these extremities:
And therefore think him as a serpent’s egg
Which, hatch’d, would, as his kind, grow mischievous,
And kill him in the shell.

• This speech is a direct predecessor for “To be or not to be,” and Macbeth’s “If it were done,” soliloquy.

  • All three speakers are talking about murder and can’t bring themselves to say either the word murder, nor mention the name of the man who will die.

• All references to murder are in passive voice, as if Brutus wishes a lightning bolt would kill Caesar, so he doesn’t have to accept the responsibility of killing.

•Compared to Hamlet and Macbeth, Brutus’ text is flat, The speech depends on the actor to show the torment in his soul.

  • One question that the actor must answer for himself is, is Brutus really concerned for the well being of Rome, or does he want Caesar dead for another reason?

After the soliloquy, Brutus throws himself into the role of head conspirator:

You can see in this video that Brutus speaks eloquently about how just the cause is and how only Caesar will die. This illustrates that Brutus is well spoken but not pragmatic. As we all know, Marc Anthony eventually gets the crowd to turn on Brutus and will become part of the army that hunts him and Cassius down. The dramatic irony is what helps the argument that Brutus is the real tragic hero of this play.

The murder and its aftermath

The rest as they say, is history. On March 15th, 44 BC, Brutus and the conspirators stabbed Caesar 17 times. In the play, before Caesar dies, he utters the famous line, “Et tu, Brute? Then fall Caesar!”

The line stands out because it is the only time anyone in this Roman play speaks in Latin. Now, I have heard a compelling argument from Professor J. Rufus Fears, that this might actually be a misquote, and what Caesar really said will amaze you. As I have mentioned, Brutus’ mother was Caesar’s mistress and the two of them were very close. At the time of Caesar’s death he was 40, while Caesar was 16 years his senior. Why did Caesar forgive Brutus fighing against him? Is it not possible that what he actually said was: “Et tu, son?” That’s a question for directors and actors, but it does heighten Brutus’ emotional conflict, much like his ancestor Lucius, between his ideals and his family.

During the funeral, Brutus has a very well crafted speech where he lays out his reasons for killing Caesar. He sets himself up as the friend of Rome. This video from the Royal Shakespeare Company explores the techniques that Brutus uses to get the crowd on his side:

After Antony makes his speech however, the mob burns Brutus’ house and even slaughters a man just because he shares a name with one of the conspirators. Brutus and Cassius take their armies and flee Rome, and prepare to take on Antony and Octavian. The adversity Cassius and Brutus go through pushes them together and they behave like brothers; they fight and reconcile constantly:

In a way, these men are two sides of the same coin: Cassius is fiery but pragmatic while Brutus is stoic and idealistic. It’s like a tragedy in and of itself that these men weren’t melded into one man with Brutus’ heart and Cassius’ mind.

Is Brutus A Traitor?

Unlike Macbeth, Shakespeare’s text leaves it ambiguous as to whether Brutus was right or wrong to kill Caesar. Even Antony, who leads an army against him, ends the play by calling Brutus “The noblest Roman of them all.” Shakespeare also gives us few clues to Brutus’ motivations other than the speech I quoted earlier. Mainly we have to go on Brutus’ actions and their consequences.

One moment that I think perfectly encapsulates the ambiguity of Brutus’ actions is the moment where he’s visited by Caesar’s ghost. In other tragedies like Macbeth and Richard III, the villain is tormented by the ghost or ghosts of people he murdered. The ghost serves as a manifestation of the murderer’s guilty conscience and torments him before his death. When Brutus sees Caesar, he does not follow this trope. He isn’t horrified, not struck by guilt, in fact, he wishes that the ghost would stay longer.

Julius Caesar by William Shakespeare

Julius Caesar book cover


In Act 4, why does Caesar’s ghost appear? I don’t understand why Caesar’s ghost shows up. I dont understand the significance of that scene.

Expert Answers info


eNotes educator

Shakespeare, as other Elizabethan writers, uses the idea of ghosts in his plays usually as a foreshadowing of events to come. In “Hamlet,” Hamlet has to deal with working out what to do with his father’s request for revenge, and also, whether the ghost is indeed his father. In “Macbeth“, Macbeth has to deal with the Ghost of Banquo showing up to dinner, literally haunting him. In “Richard III“, Richard deals with the ghosts of the men he has wronged right at the start of the play.

This haunting is significant also in “Julius Caesar“. The Ghost of Julius arrives on the eve of battle to literally haunt Brutus. Brutus had hoped that by killing Caesar he would enact change in Rome, however, the Roman Empire goes on, as does the reign of Caesar (albeit, a new Caesar).

As Brutus goes into battle, and the battle doesn’t go his way, he again turns to Julius Caesar, blaming him for the outcome of the battle,

O Julius Caesar, thou art mighty yet!
Thy spirit walks abroad, and turns our swords
In our own proper entrails. (5.3.94–96)

Shakespeare’s ghosts are visible to one person (as well as the audience, clearly) so those who react to the ghost are the ones who are supposed to learn from the arrival of the ghost, heeding the message from beyond the grave.

Enter the Ghost of CAESAR

How ill this taper burns! Ha! who comes here?
I think it is the weakness of mine eyes
That shapes this monstrous apparition.
It comes upon me. Art thou any thing?
Art thou some god, some angel, or some devil,
That makest my blood cold and my hair to stare?
Speak to me what thou art.


Thy evil spirit, Brutus.


Why comest thou?


To tell thee thou shalt see me at Philippi.


Well; then I shall see thee again?


Ay, at Philippi.


Why, I will see thee at Philippi, then.

Exit Ghost

Now I have taken heart thou vanishest.
Ill spirit, I would hold more talk with thee.

The ghost itself also resists the clearcut definition as a sign of a guilty conscience. It doesn’t accuse Brutus of murder, it doesn’t curse in fact, all the ghost says is that Brutus will see him at Philippi. Unlike Richard III or Macbeth, the ghost utters no curses or scare Brutus out of his mind.

The only conclusion that Brutus gleans is that his end is near. According to Dr. John Langdon, many Elizabethan ghosts serve as a shorthand to indicate that the play’s denouement is on its way. Brutus seems aware of this as well- he knows that if he sees a ghost, he’s likely to be one soon. Yet the reality of his impending death doesnt change Brutus; he doesn’t express remorse like Richard III or hopelessness like Macbeth, if anything his stocism and seeming world weariness makes him seem more like a hero like Hamlet during his “Not a whit, we defy augery,” speech. This passive embrace of fate is at the core Brutus and it illustrates how hard it is to truly decide if he is a villain or a hero.

Though Shakespeare wrote the character of Brutus as ambiguous, over the centuries many artists and cultures have passed judgment on Brutus. Dante in his book Inferno example places Brutus and Cassius in the lowest circle of Hell, who along with Judas Iscariot, are being forever devoured by Satan himself, imagined below in a medieval illustration as a three-headed beast. You can see the name Brut in the head on the right.

By contrast, during the French Revolution, many statesmen referred to Brutus as a hero for his noble attempt to destroy a corrupt monarchy.

One day men will be astonished by the fact that humanity in the eighteenth century was less advanced than in the time of Caesar. Then a tyrant was slain in the midst of the Senate with no formalities but thirty blows of a dagger and with no other law save the liberty of Rome Louis Antoine de Saint-Just, November 13th, 1792, (2 months before the execution of Louis XVI).

As I have written before, in the 20th and 21st centuries, America has a somewhat more complex relationship with the character of Brutus. On the one hand, America was founded on the principle of resisting tyranny; it’s even on the state flag of Virginia, which is why some early productions of the play make Brutus a hero. On the other hand, as you see above, rebels and traitors like John Wilkes Booth have also taken inspiration from Brutus. His father and brother’s middle name was Brutus and all three brothers performed in the play one year before John turned theater performance into American tragedy.

Like Brutus, Booth seemed amazed with the world’s reaction to his deed, for after he assassinated the president, he wrote this in his journal:

[W]ith every man’s hand against me, I am here in despair. And why; For doing what Brutus was honored for … And yet I for striking down a greater tyrant than they ever knew am looked upon as a common cutthroat.”

John Wilkes Booth, April 21, 1865.

The most recent controversy over Brutus’ actions is the 2017 Shakespeare in the Park production of Caesar directed by Oscar Eustis. As I wrote before, when portraying Caesar as an American president, it tends to anger the political party of his supporters, but the play shows how unplanned political violence can destabilize a country. In these productions, Brutus seems a bit of a well meaning dupe or an naive patsy acting out of fear. On the other hand in cultures that have suffered many violent uprisings, Brutus is a figure that is all to common in places like Uganda, Iran, and the Taliban controlled world:

Brutus is a great character because Shakespeare keeps enough of his motives in the dark to allow for new interpretations, but also showing a man with relatable desires and fears get swept up in a dangerous and unpredictable time.