ENGLISH ESSAY – Julius Caesar Passionate convictions and articulating views are represented in texts, which contribute to the manipulation of our views.
These elements are evident in Shakespeare’s ‘Julius Caesar,’ ABC News’ article, ‘Bill Henson’s case’ and Kev Carmondy’s song ‘This Land is Mine/This Land is Me. ’ The primary stimulus, ‘Julius Caesar’ shows how an individual’s perspective can be defined as a way of seeing or interpreting a situation or set of facts based on a certain level of judgment, whilst Carmondy and ABC New’s text help supplement and reinforce the differing perspectives.In Shakespeare’s ’Julius Caesar,’ what characters say and think about each other, has a significant impact on the ways in which they themselves, are represented. Their passionate behaviour is shown through their speeches and outspoken impression on other personas, resulting in an ambiguous identity of the characters. The viewer relies heavily on the speech and dialogue of characters and through them, the descriptive traits of personas, given by other characters, is greatly crucial.By using a series of literary devices, Shakespeare represents Caesar as a deeply flawed character who can be pretentious, arrogant and egotistical. Cassius portrays him as a tyrant, referring to him as one who acts “like a colossus”, whilst Brutus prioritizes his idealistic ideology before his friend. Weakness is combined with virtue, within Caesar which gives him greater realism in his individuality and a obscure character.
Brutus presents his argument in intellectual terms, methodically outlining what he sees as the undeniable need for Caesar’s death.His reasons in the end were aimed at the heads and mentality of the people but as such, not being a man of the people, he fails to connect with his audience; unable to empathise the situation through their perspective. Through an orthodox approach, Brutus symmetrically and logically structures his speech with balanced sentences and procedural order; “… As he was valiant, I honour him; but as he was ambitious, I slew him. ” His approach was light and slim, only able to capture the mob’s perception for a short time.An excessive use of parallelism and contrast is used, “joy for his fortune … and death for his ambition.
” where nearly every sentence has parallel parts that balance each other with a sense of mechanical regularity. This is combined with the use of rhetorical questions to give an epigrammatic quality to his words whilst numbing the listener due to the lack of structural variety. Brutus’ spoke primarily of himself, incorporating numerous inclusive pronouns, “Believe me for mine honour/Censure me/I loved” in order to shield himself from his reasoned crime.His speech implicitly aimed at protecting his honoured image and reputation. This generated a fragile excuse for his actions, but was still able to sway the Roman Plebeians. Cassius’s perspective on Caesar is that he has ambitions that seek to raise himself up above other Romans. Cassius’s perspective is very much that Caesar is a mere man and no better than any other Roman.
‘I was born as free as Caesar, so were you. ‘ His recollection of the time he saved Caesar from drowning had a great influence on his view on Caesar, “Tis true, this god did shake. He ironically utilizes the term ‘god’ as he was astonished that a man of such physical weakness can now have the reputation of greatness, “’Ye gods, it doth amaze me / A man of such a feeble temper should / So get the start of the majestic world. ” Cassius’ soliloquy exposes his deceit and manipulation, “Well, Brutus, thou art noble; yet I see Thy honourable metal may be wrought from that it is disposed.
” His play on words showing his belief that he will be able to manipulate Brutus; honourable “mettle,” as if it were heated metal being changed into something new and finally target Caesar with his own loved companion.There is an element of personal jealousy in Cassius. It is evident in his metaphorical language:, ‘Why, man, he doth bestride the narrow world / Like a Colossus and we petty men’ His simile of ‘Colossus’ also produces imagery of the flawed Caesar. Cassius represents Caesar as a tyrant.
Cassius takes it personally and will act on the matter. Therefore, through a variety of literary techniques, embedded in various character convictions and opposing views, Shakespeare is able to blur the line between the real or fake Caesar, ultimately allowing the viewers to decide who they believe.Apart from Shakespeare’s ‘Julius Caesar,’ ABC News’ ‘Bill Henson case’ newspaper article also explores the concept of conflicting perspectives between Henson and the government. Henson’s works often meditate on the categories of and relationships between male and female; youth and adulthood; nature and civilisation. On 22 May 2008, the opening night of Bill Henson’s 2007-2008 exhibition at the Roslyn Oxley9 Gallery in Paddington, Sydney, was cancelled after eight individual complaints were made to Police voicing concerns about an email invitation from the Gallery to a “Private View” that depicted photographs of a nude 13 year old girl.
Henson was unapologetic and thought that great art, he argued, could distil universal truths into a visual language and sometimes people just didn’t like what it said. On the other hand, government working groups perceives and deems the artwork to be of pornographic material and is recommending the removal of the work. With emotive and descriptive language, Bill Henson spoke of ‘rabble-rousers’ and vigilantes of ‘fringe-dwelling’ fundamentalists, whose irrational views were inflamed by media, and how controversy was put over conscience.Metaphorically, Henson described art was “a force of nature”, sometimes disturbing and often irrational. By also referring to the symbolism of ‘nature’ and how it associates with its moral to be not meddled with, Henson is implying that same convention, should be implanted upon his own works as well. He again conveys his irritation with an emotive, extended metaphor, wherein art is like a “basket case at the bottom of the entertainment industry food chain.
” Through the utilisation of highly emotive language, Prime Minister Kevin Rudd stated that he found the images “absolutely revolting” and that they had “no artistic merit”.The two worded phrase ‘absolutely revolting’ immediately connotes a definite perception, neglecting and confronting any other opinions or ideas. Hetty Johnston, from anti-child abuse group Bravehearts, wants police to lay charges against the owners of Sydney’s Roslyn Oxley9 gallery and Henson. Johnston uses imagery in, “At the end of the day, these are images of naked young girls – that’s illegal and it’s inappropriate. ” As you can see, she also takes advantage of the alliteration of ‘illegal and it’s inappropriate,” in order to strengthen and further support the accusation against Henson.