The main theme of combines the political with the personal.
The first deals with the question of justifiable revolutions and reveals with the effectiveness of concentrated action the transition from a republic of equals to an empire dominated by great individuals such as Antonius, influenced by the example of Caesar himself, and Octavius, who comes into his own at the end of the play.
Cassius and Antonius, in contrast, are not concerned with idealistic concepts or words such as honor and ambition; yet there is a distinction even between them.
Cassius is a pure doer, a man of action, almost entirely devoid of sentiment or principle; Antonius is both a doer of deeds and a speaker of words—and therefore prevails over all in the end, following in the footsteps of his model, Caesar.
And he decides to participate in the murder of Caesar, to whom, unlike Cassius, he was a close friend, in whose loyalty Caesar never had any reason to doubt, because he is sincerely convinced that it will be better for the state, for Rome.
To learn how loyalty is portrayed in the tragedy, read through our “ William Shakespeare is a prolific person in the field of literature and drama, who is well-known for his works with a realistic plot.Shakespeare, like his classical predecessors, had to work his dramatic art within the restrictions of known history.He accomplished this by writing “between the lines” of Plutarch, offering insights into the mind of the characters that Plutarch does not mention and which become, on the stage, dramatic motivations.Around his gentle character, praised at last even by Antonius, Shakespeare weaves the recurrent motifs of honor and honesty, freedom and fortune, ambition and pride.Honor as it interacts with ambition is the theme of Brutus’s speech to the crowd in the forum: “As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him, but, as he was ambitious, I slew him.” After the deed, Brutus comments, “Ambition’s debt is paid.” One of the great, dramatically successful ironies of the play is that Antonius’s forum speech juxtaposes the same two themes: “Yet Brutus says he was ambitious/ And Brutus is an honourable man.” By the time Antonius is finished, the term “honour” has been twisted by his accelerating sarcasm until it has become a curse, moving the fickle crowd to call for death for the conspirators.Antonius, in the end, defeats Brutus—as Bolingbroke defeats Richard II—because he can put on a more compelling act. Shakespeare displays in his Roman tragedy several types of politicians: the Cesarian, Marcus Antony, an insidious demagogue who is able to deceive murdererous conspirators after Caesar’s death and seduce the Roman crowd presented in the tragedy as an impersonal mob, which easily changes its affections, preferring someone who promises material benefits (which is skillfully done by Anthony); the Republican and Patrician, Cassius, the initiator of the conspiracy against Caesar, who hates him because of vanity and outraged pride, convinced that Caesar is no more worthy than any of his closest associates, to rule Rome; Brutus is an idealist politician, a person of firm convictions and the highest moral principles, he believes that others have such.It is true that Caesar’s influence motivates Marcus Antonius’s (also called Mark Antony), straightforward and ultimately victorious actions throughout the play and accounts for his transformation from an apparently secondary figure into one of stature.It is, however, Brutus, as he gradually learns to distinguish ideals from reality, who captures the sympathy of the audience.Though the title of the tragedy embodies the name of the famous historical figure, the names of the other three central characters may suit it at the same time.The point is that the plot develops around the relations of Caesar with Brutus, Antony, and Cassius, who similarly take a prominent position in the play.