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Julius Caesar takes place during 44 and 42 BCE. These years mark the final moments of the Roman Republic, and the beginning of the civil war that resulted in the creation of the Roman Empire. The first four acts of the play take place in the city of Rome, while the final act is set in and around a Roman-controlled battlefield in Greece. During this period Rome consisted of an urban center, in the city of Rome itself, and a large collection of client-states around the Mediterranean Sea. Though the relationship between these populations was complex, most Roman citizens saw themselves as the superior conquerors, and the other parts of the empire as the inferior conquered peoples. This civic sense of superiority was reflected in the fact that taxes from all throughout the Republic made their way to the city of Rome for the benefit of the rulers and, to a lesser extent, the Roman citizens.
More important than the geographical setting of the story is its political setting. Shakespeare sets Julius Caesar during a period of great political conflict in the Roman Republic. For nearly 500 years the Republic had been ruled by a group of senators and a pair of consuls drawn from the wealthiest and most powerful families of Rome. However, throughout the history of the Republic, wars had been fought with enemies both external and internal, including a series of civil conflicts that occurred immediately before the events of the play. During these conflicts, Julius Caesar defeated Pompey and managed to amass the most personal and political power of any Roman citizen. Caesar had been awarded the position of Consul, or dictator, for life—an unprecedented title that gave him unlimited power. Romans grew concerned that Caesar had too much power in his hands, and that his monarchic rule directly contradicted the goals of the Republic. As the play dramatizes, these Roman citizens became convinced that the only way to stop Caesar would be to assassinate him, which they did on March 15, 44 BCE.
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The first impact of the plague was, therefore, demographic. The lives they took in just seven years would take two centuries to recover, while the survivors would reorganize in a different way. During the epidemic years, the rural population had moved to the cities in search of food and company, and given the large number of vacancies left by the plague, they no longer had to return. The countryside was depopulated, while life in the cities was revitalized, driven by the concentration of fortunes that followed the high mortality. The old rural aristocracy, accustomed to living comfortably on incomes, finds two possibilities: lease their land at lower prices or exploit them directly, hiring producers and paying them higher and higher days. The stately power lost, therefore, part of its purchasing power, while the day laborers, regretful valuable due to their shortage, increased their well-being.
The shortage of arms and the rise of the bourgeoisie were decisive for the development of the technique, one of the hallmarks of the Renaissance, closely linked to the parallel advancement of science. Machines reduce the amount of force and work needed, and appear to serve a particular class, the bourgeoisie, which finds in them a concrete response to their needs. In the technical ascent an essential change of mentality prevails, since the manual work - the mechanical arts - was despised during the Middle Ages. Leonardo da Vinci claims it when he says: "In my opinion, the sciences that have not been born of experience, mother of all certainty, and that do not end in a definite experience, are vain and full of errors." Science and technique go hand in hand, and good proof of this are the calculations of the architect and sculptor Filippo Brunelleschi, prior to the construction of the dome of Santa María del Fiore, in Florence.
Career in defense. I hope this is right.
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A sonata is simply a piece of music. In others words, sonata is anything that is sounded by instruments. This is related to a sonata form since there both part of music but the sonata form contains the patter of ABA.
A word that can function by itself as a noun phrase and that refers either to the participants in the discourse (e.g., I<span>, </span>you<span> ) or to someone or something mentioned elsewhere in the discourse (e.g., </span>she,it<span>, </span>this<span> ).</span>
