Though the end is drawing near, Brutus continues to preserve his nobility and bravery. Even in the midst of a battle, Brutus maintains a calm demeanour. And unlike the cowardly Cassius who with eyes blocked, has his slave kill him, Brutus nonchalantly accepts his death and its inevitability, and decides that he will commit suicide. Shakespeare utilises imagery in describing Brutus' current dire situation, when he states that their enemies had beat them to the grave, and "how it is more worthy to leap in ourselves than tarry till they push us."By further conveying Brutus' immense unwavering desire to do the right thing, Shakespeare continues to sew the idea that Brutus is the hero. In how he utilises a euphemism when Brutus states "Hold thou my sword-hilts, whilst I run on it," in place of directly stating that he would kill himself," Shakespeare further reflects Brutus' self-composure.

(OCTAVIUS) Interestingly, in the Hytner production, Octavius and Antony's conversation, along with the Messenger are completely omitted. This was due to Hytner's production choice of Antony and Octavius' army entering the scene engaged in battle, with soldiers firing and converging onto a single point. Because of how the scene starts in combat, Hytner sees Octavius and Antony's long exchange as redundant and illogical because as they are engaged in warfare, they must be completely focused on the enemy upon them. Logically, the first dialogue spoken at the beginning of the production scene, is Antony giving Octavius a battle command.

It is at this moment in Brutus' soliloquy in the NT Live Production, that he begins his philosophical rant to the audience. Brutus (Ben Wishaw) puts his glasses on, picks up a pencil and book, stands up and looks around as he speaks. Here, these props and actions directly portray Brutus as a teacher, educating the audience (his students) on how ambition corrupts young men. In his last 3 lines, Brutus walks back to the table and immediately brings out a gun, revealing it to the audience, and when speaking the words 'kill him,' Brutus proceeds to raise his arm in front of him, imitating firing a gunshot. This foreshadows the exact way in which Brutus will kill Caesar in Act 3.

As the conspirators exit the scene in the Hytner production, the sound of the door closing behind them resembles the sound of a gunshot. David Morrissey begins his soliloquy speaking with a soft tone, but as he gradually walks up to Caesar's body his voices sharply increases in loudness to the point where his anger is plain for all to see. It's a moment of epiphany as the audience realises that Antony is indeed resentful and vengeful for what the conspirators did to who he perceived as the noblest man that ever lived. As he begins to detail to the audience how he will go to war for caesar, he slowly rears his head back from looking at Caesar to face the way in which the conspirators left and slowly speaks with a husky voice "a curse shall light upon the limbs of men." Hytner utilises this instance, to portray to the audience that Antony is indeed referring to the conspirators, and presents a sense of foreboding for whats to come.

The way in which Mark Antony (David Morrissey) goes about shaking one conspirator's hand after the other with such separate individuality shows how he is seemingly marking each one of them down for retribution. But what is most interesting of all is how the handshakes reflect Brutus' and Cassius' attitudes towards Antony. When Antony offers Brutus his hand, Brutus clasps Antony's hand with both of his own whilst looking into his eye. This reflects Brutus' own honest and integrity as he gives Antony his full trust. Cassius on the other-hand, pauses when Antony offers his hand and merely raises her hand for him to shake without even clasping it with her thumb and looks past him with such detachment. Unlike the noble Brutus, Cassius acts with complete skepticism towards Antony

These sentences from Artemidorus' viewpoint provide the reader with a hint of the greatness that was once Julius Caesar. Through the mentioning of Caesar's apparent 'immortality' we gain an insight into another person's opinion on Caesar. With Artemidorus viewing Caesar as so righteous and illustrous that he even considers him as a God. However, for Caesar to acknowledge the contents of Artmidorus' note he himself must admit that he is not a god, which, as seen in previous scenes, he cannot and does not want to do.

(Dramatic Annotation) Through the actor's tone of voice and expression in the production, these lines starkly convey Artemidorus' adoration of Caesar, and her angry detest of the conspirators' plot. When speaking the word 'traitors,' the actor puts an immense emphasis into it by sharpening her tone, raising her voice and displaying a defiant expression, thus making it clear her great disdain for the conspirators and their potential plot. And it is at this moment, when the actor speaks her last words, that Caesar's regal theme plays as the transition into the next scene, and as Caesar enters back onto the stage with applause

The audience sees an unknown character appear by herself onto the stage with only a single prop; an all-knowing letter warning Caesar of the conspirators and their plotting of his demise. Shakespeare gives no hint to the audience at all as to how Artemidorus (who is what appears to be a citizen clearly invested into keeping Caesar alive) knows this, which injects a sense of mystery and authority into the air.

In an aim to emphatically detail the horrid sights the watchmen have seen to Caesar, Calpurnia utilises vivid imagery when she exclaims 'a lioness hath whelped in the streets,' to describe the bad omens which forebode a great evil. She further utilises personification when she states the 'graves have yawn'd, and yielded up their dead.' And she depicts an allusion; indirectly likening thunder and lightning to 'fierce fiery warriors' fighting 'upon the clouds.' As well as alliteration in 'fierce fiery warriors.'

In this passage, Calpurnia's actor extraordinarily portrays the character's immense distraught through her voice, loud and filled with hysteria as well as through frantic hand gestures. By stating that they would send Mark Antony in his place with such swift and strong words, Calpurnia is seemingly issuing a direct order to Caesar himself rather than simply suggesting an idea. Subsequently, she proceeds to drop to her knees in front of him and beg as if she were pleading for her own life. The actor presents Calpurnia's paranoia and superstitions so profoundly to Caesar that he cannot bear to see her in this state, and so he concedes to her advice.

In this passage, Brutus justifies his killing of Caesar to the people, by representing himself as a patriot. He speaks in a succinct, eloquent tone when he states 'not that I loved Caesar less, but that I loved Rome more.' The quote shows Brutus' immense patriotism in how he is willingly to do whatever is in the best interests of Rome, even if it means killing someone who is so dear to him. And Brutus expresses a rhetoric to the people, asking them if they would rather 'live and die all slaves' or 'live all freemen.' Brutus utilises this phrase to sway the people's opinion to his own.

In Antony's speech, repetition is cleverly utilised to sway the audience in his favour. As Brutus continuously repeats the notion of Caesar's 'ambition,' the claim starts to lose its force and credibility. And by repeatedly stating how Brutus 'is an honourable man,' Antony builds up his tone of sarcasm. In how he manages to appraise Caesar's legacy by stating how he had 'wept' alongside the poor when they cried, whilst respectfully disdaining the conspirators, Antony's prowess as a politician is clearly shown.