The anaphora of “as he” and the parallel structure of Brutus’s rhetoric are both used to help him justify his actions of supporting the assassination of Caesar. During an appeal to the plebians’ freedom, Brutus’s attempt to shape a credible image of himself and protect his actions, is strengthened by the cruel finishing with “slew”, which contrasts with his previous positive words. This generates the strong effect of anaphora as he strives to emphasise the potential destruction of Caesar’s ambition towards Rome, the primary reason for the assassination, while reinforcing his position as a rising leader. However, when compared with Anthony, Brutus refuses to convey his emotions (pathos) about Caesar which decreases the credibility of his monologue and allows him to descend under Anthony’s power. Therefore through portraying Brutus's truthful oration with lower effectiveness, it can be seen how Shakespeare desires to prove the significance of using language to manipulate an audience and gain success within politics.

Here, Brutus’s (Ben Whishaw) frustration rapidly increases during an argument with Cassius, as the two start threatening each other. At the start, Whishaw attempts to tame his frustration with deep breaths and uses hand gestures to help him stay calm and clearly explain his abusive ideas to Cassius. Brutus offends Cassius with greed and corruption while Cassius asserts his greater experience as a soldier. Subsequently, when Whishaw reaches the peak of his anger, he stomps on the stage and throws his arms fiercely, as he is unable to tame his inflamed emotions. Brutus’s extreme anger and frustration is very well depicted by Ben Whishaw through the use of his infuriated facial expressions and violent body language, as there is harsh conflict between his high morality and Cassius’s pragmatism.

As Brutus decides to assassinate Caesar, his unjustified statement underlines his great flaw of strongly believing in “the general” public. Brutus’s internal conflict is illustrated when uncertain words “might” and “question”, contrast with his previous high modality. Clearly, this low modal language proves the lack of evidence he has about Caesar's tyranny, emphasising his poor decision making and judgements. Ironically, Shakespeare signifies Brutus’s adherence to his morals as a flaw, usually portrayed as his strength, as he is unable to recognise the consequences of murdering Caesar for the greater good of his country.

The presentation of Trebonius (Abraham Popoola) and his deep voice are both used to portray his confidence and masculinity during the conspirators' discussion of assassinating Mark Anthony, a key trigger for Brutus's downfall. His upright posture as he stands up and hands in pockets, not only proves the assertiveness of his opinion towards the murder of Anthony but also illustrates his confident personality. Nicholas Hytner’s decision to keep Trebonius's beard further advances his masculine portrayal within the production. Such confidence has been able to create dramatic influences in the play, the decision to keep Anthony alive has allowed his monologue at the funeral to be a key precursor to Brutus’s downfall.

A key factor within Brutus’s tragic downfall is his underestimation of Mark Anthony’s capabilities as an orator and tactician. The authoritative tone of this notion creates an essence of leadership and power within Brutus, while the personification of Caesar’s arm portrays his misjudgment of Anthony’s power. Later within the play, Anthony's soliloquy plays a major role in the eventual destruction of Brutus. He does not expect Anthony to influence the masses of Rome and revolt against the senators, while worsening the political situation. Evidently, Shakespeare aims to prove how a successful leader needs to have a perceptive attitude as well as obtain honour and strong stature within society.

Nicholas Hytner’s decision to portray Casca (Adjoa Andoh) with a unique accent and talking style, emphasises the exaggeration of her experience with the Roman population. This is proven by how she rolls her eyes and performs unusual head movements, the unrealistic existence of her style and characterisation during the Elizabethan Era reflects upon her previous supernatural recounts. As Ajoa Andoh complains about the masses of the country she dramatically changes her voice into a louder, deeper tone when emphasising the “bad air” and “stinking breath”. While doing this she acquires a serious facial expression and raises her eyebrows, accentuating her real disgust and disregardance towards the poor citizens of Rome.

As a future conspirator, Casca’s main purpose should be to protect the political freedom of Rome’s civilians from Caesar’s dictatorship. However, his disrespectful attitude towards the masses of Rome ironically portrays how he disregards the people of his country, and only retaliates against Caesar for his own rise in political power. This further reflects upon how most of the conspirators use the benefits of Rome as an illusion and eventually seize power for themselves.

Anthony’s rhetoric utilises a metaphor as he attempts to convince Octavius about the ineffectiveness of Lepidus, accentuating the struggle for power and domination within the triumvirate. While saying the first line, David Morressey's sarcastic laughter and sardonic action further demonstrates Mark Anthony's depreciation towards Lepidus, for the benefit of his own leadership and gains. The criticism is further emphasised by Moressey’s hands gestures, as he demonstrates the movements of his horse and compares Lepidus to it. Thus, Anthony's body language helps emphasise his persuasion towards Lepidus, while illustrating the leadership and dominance he is gaining within the triumvirate.

This quote illustrates Anthony's change in personality from 2 scenes ago, the emergence of a cold hearted attitude proves a strong will for his own benefits. The conspirators searched for moral justifications and benefits towards the people of Rome in reasoning for the assassination, in contrast with the unsympathetic and ambitious men in this scene. The metaphor compares Lepidus's usefulness with a donkey, illustrating the low level of respect given towards him and how Anthony only wants to use him for his own advantage. Already having assassinated Caesar, the argument between Octavius and Anthony is used by Shakespeare to illuminate the idea of how strong ambition and desire is destructing Roman politics and society.

Throughout the scene, the sound effects of guns and bombs are used to evoke a cruel atmosphere of war. This directly reflects upon the harsh ideas presented within the triumvirate’s discussion. The emotional side of Anthony is deviated and he now possesses an inhumane thought process, as he discusses murders and the betrayal of promises with other members. The lighting in the background, compared to other scenes, is very dark which strengthens the brutal scheme being heard by the audience and foreshadows the death of characters in the scenes to come.

This antithesis helps prove how Julius Caesar’s fate heavily depends upon his choices. It contrasts the noble essence of Caesar with the evil nature of the conspirators, further highlighting the value of the note and Caesar's regardance towards it. Already underestimating the warnings from The Soothsayer, Caesar is given another chance to escape from the upcoming assassination. However, if he does ignore the message, the treachery of the conspirators will "contrive", clearly representing how Caesar’s fate is determined by his decisions.

Within the production, these 4 lines are omitted to further emphasise the adverse potential of Caesar's devaluation towards Artemidorus within the next 2 lines. Once again, Shakespeare utilises a motif, a note, in order to give Caesar an opportunity to defy the fates, which increases a sense of suspense within the scene. It also proves how Nicholas Hytner aims to demonstrate how Artimedorous’s central intent is to warn Caesar, the primary purpose of the letter.