This is Brutus’ first soliloquy where he visualises killing Caesar. Brutus states, “It is the bright day that brings forth the adder” where the metaphorical imagery introduces the idea of Caesar’s successes making him a threat. He then uses the simile, “and therefore think him as a serpent’s egg” which creates an image of the snake, an allusion to Caesar, which emphasises how Caesar is a tyrant who is waiting to be hatched and how he is a potential threat to all of Rome. Brutus further emphasises Caesar’s overwhelming power through the use of metaphorical imagery, “he then unto the ladder turns his back” which indicates how Caesar rose to power and now ignores the needs of the people of Rome.

Brutus is indicating that the assassination of Caesar should occur because Rome requires it. Brutus is convinced that Caesar is going to rise to tyranny and cause the fall of Rome. Brutus emphasises how Caesar should be killed for the betterment of Rome. Brutus states, “Let’s carve him as a dish fit for the gods,” and the use of the simile emphasises that Brutus believes that Caesar is being sacrificed for Rome, rather than being killed in some type of violent unthinking retribution. Brutus then further highlights this with the visceral simile , “not hew him as a carcass fit for the hounds,” emphasising how Caesar should not be brutally murdered, but killed merely to protect Rome.

Ben Whishaw’s performance of Brutus’ first soliloquy reveals Brutus’ mindset on the murdering of Caesar. The scene depicts Brutus in his office sitting with a table while he is reviewing a document, where it suggests careful thought, not passion and envy. As he starts to talk about Caesar he wanders around his table talking about how Caesar has risen to power and looks down on the common people. Whishaw’s performance encapsulates and engages the audience through the use of pauses. When Whishaw states, “It must be by his death, and for my part I know no personal clause,” After every statement he makes he pauses and it feels as if he is reflecting on them, and after every pause he creates a fresh new atmosphere where it intrigues the viewer.. The pauses also imply that the thought process challenges Brutus, and that he is having difficulty coming to his conclusion. Then, when Whishaw delivers the simile, “therefore think him as a serpent’s egg and kill him in the shell” he effectively highlights Brutus’ decision to kill Caesar by drawing his gun and at the word ‘kill’ pointing it out into the distance. This contrast of the bureaucratic office style setting with the martial action of drawing and pointing the gun emphasises the magnitude of the decision Brutus has made.

Also Added Quote: "Brutus hath rived my heart: A friend should bear his friend's infirmities, But Brutus makes mine greater than they are."

In argument between Cassius and Brutus, Cassius states,” You wrong me every way; you wrong me, Brutus; I said, an elder soldier, not a better: Did I say 'better'?” Cassius’ use of hyperbole, repetition of “better” highlights Cassius’ impetuousness, short temper and how Cassius is a person who enforces his ideas with passion. After the argument builds, Cassius then continues with “Brutus hath rived my heart” where the use of the metaphor implies the pain that Cassius feels in the argument and highlights Cassius’ sensitive and passionate nature.

After the Brutus has taken his own life, Antony and Octavius honour Brutus as the only selfless conspirator and as this happens, Octavius emerges as a new leader. Shakespeare combines the tragic death of Brutus, “the noblest Roman” and the ascension of a new leader, potentially a new Caesar. Octavius uses irony to assert his own authority, now that Brutus is dead it is politically convenient to be respectful of him, in, “let us use him, with all respect and rites of burial.” The irony further emphasise how Octavius knows Brutus is much respected by the people, and is no longer an enemy to be feared, Octavius does indeed “use” him. This performance of respect enables Octavius to appear a suitable leader.

Kit Young’s presentation of the final speech of the play in the production emphasises Octavius’ relief that conflict is over and that he has risen to power. Young effectively represents Octavius’ relief when he looks away out into the distance while talking about the end while taking about his victory and his respect for the conspirators. He shows respect for Brutus, while he is lying dead, by looking at him when speaking about him which emphasises Octavius’ strong sense of honour. As he concludes his speech, he vigorously takes off his vest and throws it to the ground, suggesting how he has finally risen to power and can finally take of his military clothing. Young then looks out and holds his hands up, while the audience cheers, providing a powerful image that he has risen to power and he has gained popularity.

This scene shows the Triumvirate organising a purge, including family members. After the conspirators have killed Caesar, Antony and Octavius have started to slowly eliminate opposition, regardless of natural loyalties. Octavius asks Lepidus, “Your brother too must die; consent you, Lepidus?” By having the Triumvirate, who had opposed the assassination of Caesar, now act in this unscrupulous way Shakespeare ironically suggests that neither side of the conflict is admirable.

Casca interprets the storm as having two possible meanings. He believes that either the thunder and lightning suggest that the gods are at war among themselves, or that the storm is a sign the gods are displeased with the Romans and intend to punish them. Either way, Casca interprets the weather as more than just a natural event, but one symbolising strife, in the divine or human worlds. The storm is therefore a type of pathetic fallacy, where the external world mirrors the internal emotional world. Both the Romans and the Elizabethans did not view this as only a dramatic technique to highlight tension – though it does this - but also as an objective fact of the relationship between the natural and human worlds.

Michelle Fairley’s annoyed delivery of this line reveals how envious Cassius is toward Caesar’s rise to power. Cassius considers herself a proud republican who believes that no one should seem higher than she is, and this is made very evident in this line. Fairley’s performance also emphasises Cassius’ loathing for Caesar as she says it in a condescending tone. The actor and director hence successfully build on an earlier observation of Caesar’s that “Such men as he (Cassius) be never at heart's ease Whiles they behold a greater than themselves,” a line that has already alerted an audience to the possibility that Cassius is driven by envy.

Nicholas Hynter creates a setting with realistic thunder sounds and lights which resemble that of lightning. In the production, the storm connects to the way Casca acts, as she seems a little shaken In the production, this scene shows Cicero and Casca under the shelter of a bus station, and as Cicero leaves Cassius and Cinna both approach Casca. Cassius asserts that they, Casca, Cinna and herself, signify the hazard that Caesar’s possible crowning would bring about the destruction of Rome, when she states, “For the base matter to illuminate so vile a thing as Caesar?” where her rhetorical question emphasises how Caesar is worthless and would make a poor leader for Rome. In the production, Hynter makes the most of Shakespeare’s use of the storm as pathetic fallacy, highlighting how it suggest the external manifestation of the emotional turmoil in Rome.

In Nicholas Hynter’s production of Shakespeare’s Julius Caesar, Hynter modernises the written text by altering the gender of Cassius. Shakespeare presents Cassius as a noble, republican man who is fuelled with envy and ambition, while in Hynter’s production Cassius has similar qualities, but is now played by a woman. Hynter may have portrayed Cassius as a woman to further suggests the intimate relationship between Brutus and Cassius. In many of the scenes in the production, there is a deeper connection between the two than the play due to an abundance of chemistry. While Cassius makes her plans, Fairley presents a figure who truly understands Brutus as she slyly suggests that the Roman people want Brutus to lead them, then she sends Brutus some forged letters urging him to take down Caesar. Fairley’s effectively highlights the emotions suggested by the text. Fairley presents a very strong and ambitious character who is envious of Caesar’s power and throughout the play she is seen as a robust autonomous individual who can rise to the occasion, due to her cunning performance and effective presentation of Cassius’ conniving nature when she states, “Well, Brutus, thou art noble. Yet I see Thy honourable metal may be wrought From that it is disposed. Therefore it is meet That noble minds keep ever with their likes; For who so firm that cannot be seduced?” Fairley wonders around when she states this to further emphasise Cassius’ devious plan and sturdy character.

In Nicholas Hynter’s production Caesar is made to appear as powerful through various costuming decisions. When Caesar first enters, he is wearing a business shirt, tie and pants with a leather jacket whilst his followers, the audience, are seen to wear casual clothing which suggests Caesar’s power and how he has a higher rank and status, Caesar also is seen. when in Calpurnia is speaking of her dream about Caesar being murdered, to wear a green army jacket which represents his high authority and military position. When Caesar is at the brink of death, he is sitting on a red chair above all the audience and he wears a business suit with a red tie, where the use of red foreshadowing the bloody murder that is to come.

The change in scene, thunder and lightning, is a dramatic device which foreshadows the remainder of the scene. Calpurnia has spoken about Caesar’s murder in her sleep and the scene change creates the perfect atmosphere for this context.