Buidling on previous annotations In the NT live production we don't actually see the soothsayer in this scene, only Caesar's mockery of him, as previously mentioned the addition of the old man calling out Caesar helps to smoothen out transitions between the scenes but this serves a deeper purpose. It allows the crowd to settle before the soothsayer gets to his point so that his message, and the interaction between the two characters is clealy understood by the audience for maximum effect. The effect being explained in the following: The return of the Soothsayer reminds the audience of the intial omen he gave at the beginning of the play. The audience knows what is to come, but sees Caesar dismiss the Soothsayer's warnings once again. This dramatic irony, in which the viewer knows what is going to happen allows the reader to shift focus from wondering about what is to come, and focus instead on the deeper meaning of what they have just seen and what they are seeing at the current moment. It allows them to scour the emotion and atmosphere lingering in the scene. The parallelism in this interaction serves to suggests the allusion between them.

In the NT live version of the play, Cinna runs onto the stage, exclaiming for Rome to rejoice as it has liberated in tyranny, he yells for Rome to join him in this new found freedom, however the body language of the conspirators in the scene are in stark contrast to these words. They ironically appear to be threatening the crowd with weapons while telling all of them, yay! You're free! Their guns are drawn waving over the heads of the audience, and Cinna's gun pointed straight in the air adding to the chaos and confusion over what the conspirators are trying to convey. Are they threatening us? or do they serve good for us? This court of chaos begins ensuing Caesar's death, and produces the lack of sanity and sense to be upheld throughout the rest of play.

Here asyndeton and exclamation is used to allow the reader to omit the 'verbal noise' which would otherwise spoil the magnitude of what Cinna is trying to exclaim. It puts these words in the spotlight and gives an ironically excited and exultant cry out to the audience, in face of Caesar's murder, not even a moment ago. It also encourages the audience to view it as a sort of list as he reads it out in such a manner, and implies the list is unfinished, and there is much more to rejoice. The line ironically states are everyone to be happy, despite the on going chaos, and the chaos to come.

In the NT live version the knives are replaced with guns, this is to potentially avoid the awkwardness of approaching Caesar with knives while also taking this scene into a more modern setting. However the use of guns, and Brutus in the scene is much deeper. In the original, the stabbing begins after the "Then fall Caesar scene" however in the NT version Caesar's famous final words are said upon Brutus meeting face to face with Caesar, followed by a brief pause. This fleeting final moment between Caesar and Brutus is shown to rush to Caesar and share a final moment, a final look at Caesar. Before pulling out his gun and shooting Caesar. Isolating the two characters, particularly Brutus in this scene serves to exemplify his role in Caesar's death, the magnitude of what he himself alone has done and shows the audience, this is not the conspirators doing, but rather Brutus's alone. It also in some way foreshadows how this action will go on to bear on Brutus the hardest.

As the soothsayer calls, he is easily dismissed as a nay sayer by both Caesar and the audience, his costuming as an old man with a hoarse voice characterises him as potentially an insane character, similar to that of "high-off-drugs" homeless people you see in the streets today. They see him, they consider what he has to say. But in the end they dismiss him as mad, a liar or a fraud. His words have no meaning simply due to the fact he appears uneducated and insane. However as he approaches Caesar to give him the booklet, Caesar appears to be in shock and genuinely fearful of the ides of march, however he must dismiss it and the crowd goes along. It almost produces some pity for the old soothsayer. However the audience, and surely Caesar cannot help to think about the old soothsayer later on in the play, as Brutus's plan begins to unravel it becomes clear Caesar is not safe and the soothsayer's fortune slowly becomes reality. Simply put, he adds a sort of 'manic device' to the story, providing all of its ominous warnings and laying the shroud of obscurity and fear for what is to come.

The breaking of the standard meter in line 80 "Ay, do you fear it?" serves a subtle purpose. But it signifies that it is here that the beginnings of thoughts against Caesar are planted. And it is here that the Brutus's inevitable actions begin to fester in the back of his mind. It is these line, which sparks Brutus's rampage, and it is this line which begins it all. Even in the lines proceeding Brutus is still innocent, but it is clear soon after, the thoughts are getting to him. And he must betray his love for Caesar if he is to save Rome. It all begins on this line.

In the NT live interpretation of the play Caesar's costuming nods towards Donald Trump in the way he has been dressed, with the typical red tie, and red hat with bold font commonly donned by Trump. This very intended coincidence serves to characterize Caesar before his first words are even spoken, the way he greets the crowd, the way he swaggers and the his suave body language allows the audience to connect and liken Caesar's character to a very 'popular' modern personality like Trump. Using him as a muse immediately characterizes Caesar's demeanor as being similar to that of Trumps, while up to interpretation, most can agree this gives Caesar an over confident, arrogant aura. But also provides comedic effect and lightens the mood and confusion potentially caused by act 1 scene 1.

Here it is shown Brutus, gallantly holding onto anyform of hope even up until it becomes clear this is where he will die. He executes his order, with firmness onto his troops. "Let them all come down" is a form of syndoche, he wants to believe that this newfound weakness will bear down upon Octavious and proove him victorious. He wants to believe it, he needs to believe it. These final orders extend his final hopes of victory through the final lines of his desperate plea for attack.

The fact that this short set of lines from Brutus is dedicated an entire scene suggests some form of importance. Via the strict following of pentameter throughout the entire length, accompanied by its lack of length. It amplifies the urgency of the message and provides a rushed, quick tone to denote a hurried atmosphere. It also provides a sense of a glimmer of hope in a desolate situation, as Brutus urgently capitalizes on a new found weakness as soon as he possibly can.

In the NT adaptation of the play, we only see Brutus in the scene. All other characters are omitted, this brings particular highlight to Brutus's words, adding to the gravity of the his words and the desperation and importance behind them. The tone of his voice yells in haste and almost begins to turn into a begging tone. This, coupled with the literal spotlight over his head, obscuring everything but him and the ground on which he stands works to put Brutus and his words into the metaphorical spotlight.

The repetition of the phrase, "I am Cinna the poet" suggests a desperate call for help or at the very least a growing sense of unease and unnerve. We see previously in the first lines of the scene through to his next phrases at line 13, Cinna speaks frivolously and appears to be quite talkative. However his lines from line 18 onward are in stark contrast to his first few, these ones a shorter, more to the point. Very uncharacteristic of Cinna the poet. This leads us to believe he feels growing unease within the situation hes found himself in, which is also reflective of the feeling the Plebians have against him. This scene is used by Shakespeare to convey the sense of the absolute breakdown of rationality and rash decision making in society in the immediate aftermath of Caesar's death. It serves to lay down the new tone of the play. And is the beginning of the war like scenes to come.

Here the Soothsayer speaks in parallelism to provide a further and continuous ominous presence throughout the play. From his introduction the Soothsayer has exclusively served as a sort of 'manic' device, a character who serves not only yo foreshadow, but also to stir the audience and lay a blanket of obscurity and hidden danger. The words he speak are vague and can easily be interpreted differently, as are his characteristics as the soothsayer. They serve to further his character and the ominous mood befalling the scene and play.