Popularity and the Art of Rhetoric
This chapter demonstrates the social depth of politics in Shakespeare’s Julius Caesar, focusing the theory and practice of the ars rhetorica. Central to political (in)stability in both classical Rome and Tudor England, the rhetorical virtuosity of the elite sought to constrain and control the restive commons and the potency of popularity. Since commoners were its intended primary audience, Cicero argued for ‘the ultimately popular nature of eloquence’. Julius Caesar sets two types of orator into a rhetorical contest: the nobleman who pacifies the volatile masses, and the ‘people pleaser’, a widely feared figure, who inflames them to insurgence. Different modes of rhetoric unfold: whereas Brutus’s speech violates the precept of adaptation to an audience, in Mark Anthony’s rhetoric, popularity pays off. Shakespeare’s bleak play departs from its sources to magnify the destructive potential of popular orators: unhistorically, Shakespeare renders the incitements of Anthony’s eloquence the trigger of the civil war.