Suspense is created and built in Act II, Scenes 3 and 4 as
Shakespeare employs the interplay of choice and fate, a motif that prevails throughout
his tragedy, Julius Caesar. In Scene
3, Artemidorus, a teacher and, interestingly, a friend of both
Caesar and the conspirators, has learned of the assassination plot and has written a
letter to Caesar, advising him of this design against him. When Caesar passes him on
this day, the Ides of March, Artemidorus plans to hand him this letter as a suitor
looking for a political favor, a regular action for the occasion. As he waits on
Caesar, Artemidorus suggests with his words the interplay of choice and
fate:
If thou
read this, O Caesar, thou mayst live;If not, the Fates
with traitors do contrive
(2.3.14-15)
Then, in Scene 4,
the anxious Portia, whom Brutus must have finally acquiesced in telling her what has
caused him to be in their orchard in the night, sends her servant Lucius to the capitol
with instructions to report everything he observes about Brutus. Here, however, there is
also some comic relief injected as poor Lucius is unclear about what he is to
do,
Madam,
what should I do?Run to the Capitol and nothing
else?And so return to you, and nothing else?
(2.4.11-13)
When Portia
espies the soothsayer, she rushes to him and inquires if he has any knowledge of harm
inteded for Caesar. To this, the soothsayer answers,
readability="14">None that I know will be, much that I fear may
chance.
Good morrow to you. Here the street is narrow,
The throng
that follows Caesar at the heels,
Of senators, of praetors, common suitors,
Will crowd a feeble man almost to death.
I'll get me to a place
more void and there
Speak to great Caesar as he comes along.
(2.4.36-42)Thus, the
reader/audience wonders if the letter from Artemidorus and the warning from the
soothsayer will reach Caesar, and if so, what affect either of these warnings will have
upon him if he does receive them.
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