When this part of the scene is played out, one can imagine a silence ensuing throughout the stage, as the audience strain their ears, listening. The silence creates tension in the scene as the audience are left wondering what Portia can hear. Shakespeare's clever choice of dialogue and timing intensifies the dramatic tension developed by past scenes, leading up to Caesar's murder.

The audience is uncertain whether Portia knows about Brutus' plan. The apparent 'noise' that she hears reveals her heightened fears and anticipation, perhaps affecting her rational thinking. On the other hand, this could be a hint towards supernatural powers evident at the beginning of Act 1 Scene 3 when Cicero and Casca talk about tempests. In addition, this draws a link between the two main female roles - Calpurnia and Portia, whom both sensed an impending danger. It is evident in previous annotations that Shakespeare highlights the inferiority of the role of women, however he also celebrates the female, demonstrating the remarkable women's intuition.

The use of simile by comparing the 'rumour' to 'fray' implies the conflict to come, maybe even as far as foreshadowing the battles between Antony and Brutus. The foreshadows and anticipations all contribute towards developing tension in the play towards the murder of Caesar.

Through this aside, the audience is able to see the effect of her repressed secrets and apprehension. Her restlessness is revealed in her desire for the gods (heavens) to help accomplish Brutus' 'enterprise' as she does not want to wait any longer. She is concerned over Brutus' safety and even 'grow[s] faint' just worrying over him. This reveals her love for him, and displays their close relationship continued from Act 2 Scene 1. The exclamation marks instruct the lines to be said with considerable energy and emotion allowing the audience to empathise with Portia's worries and concerns.

The characterisation of Portia depicts her as Brutus' faithful and loving wife, who eventually suicides due to her 'impatience of my[Brutus] actions'. Throughout the play, we see Portia opening up her feelings and emotions to Brutus and even when he doesn't, she still partly understands his troubles. This paints a picture of an almost perfect wife whose husband wants to care... but can't?

The eagle was an important symbol to the Romans, as it represented their honour and power, and was associated with Zeus (the most powerful god). To Cassius, the event of the "two mighty eagles" feeding on the roman soldiers, is symbolic of the desertion of the gods, and with it (the Romans) their honour and power.

In their place, they were replaced by scavengers, representing death and despair. They look "downward" and "their shadows seem a canopy most fatal" as the soldiers are "ready to give up the ghost". This extended metaphor draws upon powerful imagery to describe the dismal emotional state of both Cassius and the soldiers who seem to believe that they have lost even before the battle has begun. These omens foreshadow the deaths to come in the play, and once again alluding to the theme of the supernatural, constant throughout this play.

This sudden change in character and philosophy in Cassius is quite unusual, considering in past scenes he is displayed as a confident character, never burdened with the supernatural. His talk of omens seemed to be a short reverie, as right after he expresses his high "spirits". Perhaps some small part of Cassius, knows that it will not end well for him and today will be his last day, thus he puts on a brave face "to meet all perils".

Shakespeare uses anaphora - the repetition of "Must I" - to demonstrate Brutus' irritation towards Cassius' bad temper. The use of anaphora allows the lines to be spoken in increasing rhythm and volume, to build up to a climax. This reflects his ever-increasing anger, as Brutus lets go of his emotions and speaks his mind.

This emphasises on Cassius' greedy and "choleric" actions which have not gone unnoticed by Brutus. The three rhetorical questions not only makes Cassius reevaluate his actions but also causes Brutus to reevaluate his own; how he has fallen victim to Cassius' actions many times before. This displays Brutus' sense of individuality and righteousness, such that he will willingly stand by his own values against what he thinks is wrong. Subsequently, it shows that Brutus isn't just a weak-willed man who fell prey to Cassius' words, and that perhaps he had murdered Caesar for the greater good of Rome and not for selfish reasons.

It is Cassius who persuades Brutus that Caesar is too ambitious, and leads him on the path towards the murder of Caesar. Cassius says he will be Brutus' "reflection", and tell "yourself [Brutus] which you [he] yet not know of". Implying that these ideas and fears were already there in Brutus' mind, and Cassius had simply informed him of these notions.

My question is, if Cassius had not talked to Brutus, would Brutus have decided to kill Caesar? Was the idea already there in Brutus' mind, and would it have fostered without the influence of Cassius?

Dramatic irony is evident, as the audience knows Lucilius is not Brutus, yet the soldiers do not. Apart from helping the plot progress, this technique may have been used as a way to add comedy to the play. The exclamation marks and repetition of "Brutus is ta'en" reveals the excitement and elation the soldiers would have expressed upon capturing 'Brutus'. The soldiers have no lines after, but on stage the audience may see the shame and guilt which may appear on the soldiers face - this is part of the comedic value.

Apart from comedy, it also portrays Brutus as having many loyal followers who believe in his words and good deeds. Lucilius is perhaps a small representation of Brutus' followers, who still praise him for being a great and noble man, believing in his cause. Whilst this is the case with Brutus, we do not see the appearance of any of Antony's loyal followers. Here the lines of right and wrong are blurred, who is the greater man?

From Act 3 Scene 2, when Antony rallies the crowd and at the end speaks to himself - "Mischief, thou art afoot" to Act 4 Scene 2 when he expresses his contempt towards Lepidus. We see an increasing development in his character, from a loyal supporter who wishes to avenge Caesar, to a leader controlling Rome's armies.

In this scene instead of killing Lucilius, a supporter of Brutus, he decides to keep "this man safe", implying that he could be an ally later. Lucilius' unequivocal loyalty is evident in his willingness to sacrifice his life for Brutus, so what makes Antony think Lucilius will change sides later? This reveals Antony's belief that eventually soldiers' loyalties will change when it best suits them, and that he himself does not truly understand the concept of nobility. If he did, he would have given Lucilius a right and just death.

He treats Lucilius as merely "a prize no less in worth", objectifying him to a mere pawn which may benefit him in the future. Perhaps this is an act of kindness since he understands Lucilius' decision to sacrifice himself, but the ulterior motive is most likely Antony's desire to have a loyal soldier on his side.

Murellus, outraged at the people’s disloyalty towards Pompey in their 'rejoice' of Caesar’s triumph, chastises them and reminds them of Pompey’s reign. He poses questions to directly attack the people's opinions, striking at their guilt by bringing up past memories. The use of hyperbole and imagery embellishes the once great power of Pompey, prompting the plebs to reconsider their values and loyalties.

This sets up the scene before the play, and highlights the tribunes loyalty towards the past emperor and disgust at Caesar's. Personifying the Tiber river, allows the ethereal river to be grounded to mortal values, and 'tremble' under the people's cries. Essentially, showcasing the power of the people and their loyalty to Pompey.

Despite this being merely a technique in Murellus' speech to sway the people, the support of the people is later shown to be an important part of the play.