Julius Caesar is one of Shakespeare's most compelling Roman plays. The plot against Caesar and the infamous assassination scene make for unforgettable listening. Brutus, the true protagonist of the play, is mesmerizing in his psychological state of anguish, forced to choose between the bonds of friendship and his desire for patriotic justice.
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Public Domain (P)2012 Naxos AudioBooks
First time I've properly listened to Shakespeare, its much better to hear than to read.
Great performance and cast, Cassius was my favourite character (lovely voice!!)
"The fault, dear Brutus, is not in our stars"
I think that reading Shakespeare's plays does not do them justice - they aren't meant to be read, they are meant to be performed, and seen performed. However, you also miss a lot if you aren't already familiar with the context and the Shakespearean language, because of course ol' Will packs a lot into every single line.
So, this is the famous play about the conspirators who assassinated Julius Caesar, fearing his ambition to become king. Among the famous lines to which we owe this play: "Et tu, Brutus?" "Cry havoc, and let slip the dogs of war!" "Cowards die many times before their deaths; the valiant never taste of death but once." And "The fault, dear Brutus, is not in our stars, but in ourselves."
Mark Antony's speech is probably the highlight of the play. Having just been informed of Caesar's death, and with the assassins having convinced the Roman public that they'd saved Rome from a tyrant, Mark Antony gives his famous speech which is a masterpiece of mob manipulation, turning them against the conspirators and in favor of the slain Caesar.
The conflicts are patriotism versus friendship, loyalty versus ideals, and the taint of self-interest always present in one's motives. As a tragedy, this is one of those Shakespearean plays where almost everyone ends up falling on a sword one way or the other.
Brutus is clearly the protagonist, but I think Mark Antony wins it.
Performances were clear and dramatic in this production. Not quite as good as seeing the play, but all the action is clear enough with minimal sound effects.
"I forgot how great this play is!"
Truly wonderful rendition of one of the Bard's most famous works. I was drawn in like a underling and remembered some of best professor's lectures at the same time!
This a very well done version of the classic tale and the full cast really brings the play to life. Well worth a listen.
"The Poetry of Politics, Friendship, and Duty"
Cassius is eager to recruit Brutus for his preemptive strike on Julius Caesar, before Caesar's "ambition" may harm Rome by becoming the tyranny of a crown. The thundering and flaming ill omens warn everyone to take a quiet time out, but, although Brutus loves Caesar, he loves Rome more, and so joins the conspiracy. Perhaps Brutus' feeling for Caesar causes guilt to undermine his instinct for self-preservation, for after the Ides of March assassination, he makes some stunning errors regarding Mark Antony, for instance allowing him to give his famous "Friends, Romans, countrymen, lend me your ears" rabble-rousing speech, punctuated by Antony's increasingly ironic claims that Brutus et al are honorable men, that it isn't the time or place to read Caesar's will, that he isn't an orator, and that he sure isn't inciting anyone to do anything violent against the conspirators. Then it's expeditiously on to the climactic Battle of the Four Armies at Philippi.
Shakespeare's play is fascinating in the complexity of its situation and characters. Cassius begins as a sneaky manipulator motivated from envy to kill Caesar and involve Brutus by any means necessary (including the tossing of fake incendiary letters through Brutus' window), but he becomes ennobled through love of Brutus and finally adopts Brutus' freedom from tyranny motive. Mark Antony begins as a feeling man motivated by grief and justice and ends a ruthless uber-politician greedy for power and capable of stirring up the masses, gloating, "Mischief, thou art afoot," and then having 70 or 100 senators executed to fund his army with their revenues. Brutus' words about his fears for Caesar's ambition apply most to Mark Antony: "The abuse of greatness is, when it disjoins/ Remorse from power." And of course at the center stews the self-destructively noble Brutus.
Along with many deservedly famous speeches and lines, Shakespeare's rich language reveals many neat insights into human nature: how people subjectively interpret signs; how power corrupts and selfishness taints any action; how violence begets chaos and more violence; how intense situations stress friendships; and how flawed is human nature ("The fault" lying "in ourselves"). He also keeps the action moving swiftly. Even though this is very much a man's play, there is a potent scene between Brutus and his wife Portia in which she tries to plumb what ails him: "Dwell I but in the suburbs of your good pleasure?"
Shakespeare writes doubling scenes that comment on each other. There are obvious pairs, like Caesar and Calpurnia's exchange followed by Brutus and Portia's, Brutus' speech followed by Mark Antony's, or Mark Antony and Ocatvius' tete-a-tete followed by Brutus and Cassius', as well as some less obvious ones that would be easy to miss were one simply reading the play but which the dramatized Naxos version highlights (as a good theater version would). My favorite example is the comical opening scene when some aristocrats interrogate a punning cobbler paired with the horrifying scene when the enraged mob interrogates a frightened poet.
Your name, sir, truly.
CINNA THE POET
Truly, my name is Cinna.
Tear him to pieces; he's a conspirator.
CINNA THE POET
I am Cinna the poet, I am Cinna the poet.
Tear him for his bad verses, tear him for his bad verses.
CINNA THE POET
I am not Cinna the conspirator.
It is no matter, his name's Cinna; pluck but his
name out of his heart, and turn him going.
Tear him, tear him! Come, brands ho! fire-brands:
to Brutus', to Cassius'; burn all: some to Decius'
house, and some to Casca's; some to Ligarius': away, go!
Hearing the terrified and confused Cinna, the ruthless and frenzied citizens, and the violent sound effects, hits home that we are witnessing a mob tearing someone apart limb from limb, confronting us with the results of Mark Antony's "mischief."
The sound effects of the Naxos audiobook production of the play enhance its moods and immerse the listener in the dramatic world: thunder on the eve of the Ides of March, ominous crowd shouting noises at Caesar's funeral, wine pouring when Brutus and Cassius make up, eerie background noise for Caesar's ghost, war trumpets and marching soldiers and galloping horses for the battle, and so on. David Timson directs a stellar cast of actors (many with experience acting in the Bard's plays). Standouts are Sean Barrett as Caesar, Paul Rhys as Brutus, Pip Carter as Cassius, and Roy McMillan as various men. Of course, if you haven't read much Shakespeare or haven't before seen or read Julius Caesar, it would help if you had the text handy when listening to this audiobook, but the quality of the voice acting is such that even without reading along with the play I could mostly follow the action and--thanks also to clues in the characters' speeches--could usually understand who was speaking. This version of Julius Caesar, then, is excellent.
"Absolutely Comes Alive"
I've dabbled in Shakespeare ever since school, but whilst finding the plays dramatically and thematically interesting, the language is often somewhat inaccessible. Hence the dabbling.
I have also always been very interested in the history of ancient Rome. I've read Julius Caesar's "Conquest of Gaul", visited the ruins of ancient Rome, watched the old BBC adaptation of "I, Claudius" (which is beyond my words to describe how fabulous it is). Read books on Cicero and countless documentaries.
So these two elements combined were fantastic for me.
This audiobook was on sale and although short (but unabridged) is BOGO well spent.
Incredibly good performance by the audio actors. A few sound effects here and there to give a little color and to punctuate certain events that we cannot see, but not so many as to distract from the dialogue.
Just perfect. Brings this play to life and makes it very accessible, at least to me.
I enjoyed it so much I'm looking to see what other options are available in the same series.
One of the Top 40 overall and in the Top 3 for dramatizations.
Low hanging fruit is Brutus for this question, but his followers were equally intriguing. Marc Antony terribly complex as well.
Amazing production, they and the rest if the cast really out a lot of effort in and it paid off.
"Dull and uninspiring."
the emphasis in this version seems to have been given to the clear reading of the text at the cost of any sense of drama, character, peril or wit. hugely disappointing. no blood, guts, treachery or wonder. sterile.
"Probably a must for students."
A difficult listen for those not well versed in Shakespeare. I last red thus at 14. Had no comprehension then as we read a line each in class (regardless of punctuation). Not a good start. Good performances but a melodrama and work of art not appreciated by everyone. I would need to listen AND read this to reap the greatest value.
Good performance of a brilliant play. Only a live performance could top this production. Satisfied customer.
"Wonderful rendition of the Shakespeare classic"
The story was well performed and presented, allowing me to visualize the scenery and the interactions. There is a reason this has survived as a western classic!
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