by the disorder they created.Upon presentation of this formidable answer to the proposed question, an initial question arises. How can a play that is entitled Julius Caesar not contain a tragic hero named thus when historically, tragic heroes within Shakespearean tragedies, in fact, have been easily pin-pointed by their title? Take Romeo and Juliet and Othello, for example. Within Romeo and Juliet, the reader witnesses the tragic flaw within the lovers' inability to pursue each other due to former grudges held by relatives. In Othello, the reader discovers that Othello's flaw lies within his understanding that he "loved not wisely, but too well"(act 5, scene 2, line 340) both in his jealousy of Desdemona and in his trust of honest Iago. Although Caesar truly does fulfill the tragic hero prerequisite of experiencing death (like Romeo and Juliet and Othello), he never comes to grips with his flaw. He never fully understands how large his "Caesarian ego" has evolved. This concept of a rather large "Caesarian ego" is fully depicted within the opening scene in Julius Caesar. Shakespeare presents the reader with opposing views of Caesar expressed by the mob, who have come to "see Caesar and to rejoice in his triumph"(act1, scene 1, line 34) contrasted with the tribunes, who hate Caesar, and are perturbed by the crowds joviality and proceed to "Disrobe the images"(act1, scene 1, line 67) of the mob. This generous jest donated by the tribunes, who are in fact, politically close to Caesar, portrays the hierarchy-related bitterness aimed towards Caesar even at this rather powerless position of tribune. Buried in this notion of hierarchical bitterness, lies Caesar's innately invisible tragic flaw of not appreciating those close friends who helped him "climber upward"(act2, scene 1, line 23) on "ambition's ladder"(act2, scene2, line 22). To the general public however, Caesar is the picture of a king, who, although seen infrequently, make...
