notes on preparing essay 2

[o]

The half-done draft of essay 2 is designed to help students start
early and have time for extensive revision. Students need not create
exactly 50% of the finished project from page 1—1.5 for each of the
two portions—the academic essay and the short story. Get started.
Choose the topic of chapter 1, 2, or 3 of Murphy’s book to analyze and
research some sources. Check the notes under the sample intro for more
ideas. Turn in a page or two of each half of the project next week,
Saturday 10/18. I’ll take it home and bring it back the following
Saturday, 10/25, and we’ll meet one-on-one for a few minutes to go
over my notes and advice. This way, you can use my notes for revision
to make a better paper that will score higher. It may seem at first
that the half-done draft is simply another chore or assignment, but,
students, if you don’t believe it yet, revision is one of the keys to
developing as a writer.

Here are some general notes and ideas to consider while drafting and
revising. Present a thesis and outline of argument in the
introduction. Thoroughly and systematically explain the argument
throughout the body, properly balancing evaluation of documented
sources with personal analysis. Don’t forget to analyze at least one
Congressional bill as one of your sources of information. Restate the
thesis and summarize the argument in the conclusion.

Remember to use the formal academic style for the essay half. Triple
check the clarity of the essay structure—topic+opinion for reasons 1,
2, 3…. If you don’t make an outline of all the argument before you
begin, you should be able to when you're finished. Don’t simply type
from the beginning of page one to the bottom of page three and turn it
in. Check paragraph and sentence structure—one-sentence paragraphs and
one-word sentences are probably incomplete.

Revise out all “I,” “we,” “you” style from first drafts and journal
notes. Replace all slang with more formal vocabulary. Skip hints, or
implied argumentation—no rhetorical questions without answers. Don’t
use sarcastic, joking criticism, making fun of people for their
beliefs but instead analyze the logic and ethics of ideas.

Interviews are not required for this project but can sometimes provide
useful qualitative and quantitative data. When conducting research
with human subjects, however, it’s important to follow ethical
research standards. Here’s a big long list of ethical standards on
research involving human subjects from the American Psychological
Association, the same APA of APA style documentation for in-text
citations and reference page (http://www.apa.org/monitor/jan03/
principles.html and for even more detailed explanation try
http://www.apa.org/ethics/code2002.html).

These ethical standards are all good and right, but if the list looks
complicated, you already know most of it:
a) don’t break any laws or endanger yourself or others;
b) protect people’s privacy when their identity, role, or statement
is private perception, recollection, more or less opinion; use a first
name only, make up a name, or call her something such as, 30-year
resident of the neighborhood who raised here three kids who went to
the local public schools but have since grown up and moved away;
c) be nice and polite; feel free to blame me for having to bother
people, and if anyone would feel more comfortable with a letter
telling people about your research, I can provide a little
introduction on college letterhead;

For the short story half of the essay project, consider Shaw’s play as
an example of storytelling, but don’t forget that you’re working on a
short story rather than a multi-act format with many, many scenes and
characters, including not only a plot but subplots as well. A short
story will probably have a more narrow temporal focus—perhaps all
taking place on one day or a few hours. Using Shaw’s play as an
example, a short story might focus on either an individual scene of
two character's introduction (Act I) or the bittersweet parting (Act
V) but not both, even though the first example might foreshadow the
second, and the second might recall, but not flashback to, the first.

Students probably have plenty of narrative style reading and writing
experience, so less will be said about short story structure than for
the academic essay half. In the short story, informality in narrative
perspective and tone can be acceptable if appropriate and effective to
character and story development; in other words, slang and informal
expression are allowed in the story—if that’s the right way for the
characters in your story to speak or narrate their story. Irony,
symbol, metaphor and allusion are all encouraged in the short story
even though these are counter-recommended for the academic essay.

These are two films, one documentary, one fictional, both directed by
Michael Apted in 1992, both concerning the Pine Ridge area of South
Dakota, both available at the downtown Central LAPL library: Incident
at Oglala (Amazon info: http://www.amazon.ca/Incident-at-Oglala-Robert-Redford/dp/6302541468)
and Thunderheart (Amazon info:
http://www.amazon.ca/Thunderheart-Michael-Apted/dp/0800115821/sr=1-2/qid=1162050095/ref=sr_1_2/701-3892112-1537929?ie=UTF8&s=video).
They may give the interested other ideas on how to explain and argue
formally as compared to fictionalizing historical themes.

To evaluate how Shaw and later Shakespeare incorporate aspects of real
politics into fiction, let’s introduce a couple terms for studying
literature. You’re probably already familiar with the concept of a
metaphor, and most students year after year can repeat very nearly the
same definition: a direct comparison between two unlike things not
using like or as. Metaphors can also be analyzed as having two
components, a vehicle (the comparison) and a tenor (the meaning of the
comparison).

Consider Coriolanus’ metaphors in the lines “He that trusts to you,/
Where he should find you lions, finds you hares;/Where foxes, geese”
Vehicle: the lion
Tenor: represents a proud warrior

Vehicle: the hare
Tenor: meekly fleeing prey

Vehicle: the fox
Tenor: can be read as a sly, quiet, effective resourcefulness

Vehicle: the geese
Tenor: an obvious, loud, even silly flock

The combination of these four metaphors contrasts the personality
Coriolanus considers honorable to that he scorns. The character’s
choice of Æsop’s fables-type character-animals may further suggest he
considers himself in the position of an adult teaching small children
right from wrong.

In this course, we’ll be discussing literary devices or aspects/
techniques of story writing as an interaction of theme approximately =
vehicle+tenor. These terms are probably not as familiar as thesis=topic
+opinion, and while there are similarities to these components of an
essay, there are significant differences as well.

An essay presents a thesis as a thesis statement. There should be a
clear, direct statement of the thesis (topic+opinion) in the
introduction and a brief outline of the reasons to follow. The thesis
should then be supported with fully explained reasons, examples, or
other evidence throughout the body of the argument. The conclusion
should restate the thesis and summarize the argument.

Literature presents themes through the use of literary devices.
Literary devices indirectly convey themes, often in a fashion
comparable to the vehicle+tenor of a metaphor, where vehicle
represents the technique used and tenor the author’s intended meaning.
This may be compared to the topic+opinion of an essay, but it is
important to remember 1) vehicles can be symbolic, and 2) tenors may
appear ironically.

Consider the following metaphor from the beginning of Frankenstein, by
Mary Shelley: “I try in vain to be persuaded that the pole is the seat
of frost and desolation; it ever presents itself to my imagination as
the region of beauty and delight.”

Here the double vehicles are contrasting conceptions of the North
Pole: one as the home of frozen death, the other a charming
wonderland. The tenor of the struggle between meanings suggests a
theme to the text as a whole: scientific progress presents potentials
for good and bad. Walton is attempting to understand his friends’
warnings, but he is absorbed to fascination with his subject.
Ironically, his logic is unable to overcome his emotional attachment
to his science. Frankenstein will later struggle with this as well.

It may be helpful whether refuting editorials or analyzing literature
to outline ideas. Try the following for studying editorials:
Topic:
Opinion:
Reason 1:
Reason 2:
Reason 3:

For literature, try
Theme: state theme (in this case, of a chapter or scene)
Quote: quote short passage
Vehicle: identify literary devices
Tenor: explain how devices convey author’s intended meaning

The same example above from Frankenstein may be thus represented:
Theme: scientific progress presents potentials for good and bad
Quote: “I try in vain to be persuaded that the pole is the seat of
frost and desolation; it ever presents itself to my imagination as the
region of beauty and delight.”
Vehicle: dual metaphors on the North Pole—“seat of frost and
desolation” and “region of beauty and delight”
Tenor: friends caution that Walton’s journey is hazardous, and though
he can logically accept the seriousness of the hazards, he is nearly
obsessed with his view of the situation.

other materials on literary analysis to be discussed

http://www.snorko.org/5-12.html


Now practice interpreting some of the vehicles (the words on the
page, the characters, the plot, the fiction/story building blocks) and
their tenors (what the story means, the author’s intended meaning, the
useful insights on our real world that the comparison to this unreal
fiction can provide) from Shaw’s Caesar and Cleopatra:

The following ideas on theme are designed to assist students in
revising the final draft of essay 2 and build from the notes on
preparing essay 2 above. Quotes from Acts I and II of Shaw’s Caesar
and Cleopatra, are presented for class practice with examples of
identifying and explaining theme (≈ vehicle + tenor) and practice with
literary metaphors on current events.

Theme ≈ vehicle + tenor
Vehicle (the literary element or device; e. g., character’s name,
symbol/metaphor used; mystery/suspense/irony):
+
Tenor (author’s intended meaning):

Comparison to today’s world (specifically, to view of self, military,
corruption, view of rest of the world, borders, or systemic/
bureaucratic complexity):

----- ----- ----- ----- ----- -----

Practice with the sphinx from the quote below from Caesar

Theme ≈ vehicle + tenor
Vehicle (the literary element or device; e. g., character’s name,
symbol/metaphor used; mystery/suspense/irony): sphinx as symbol of
Egypt’s established traditions, to Caesar, foreign traditions
+
Tenor (author’s intended meaning): sphinx shows how ancient Egypt
successfully accomplished [fill in]/failed because [fill in] and so
ancient Egypt’s established traditions deserve respectful
consideration and reflection upon application to personal life/should
be ignored as inapplicable or avoided as counterproductive

Comparison to today’s world (specifically, to view of self, military,
corruption, view of rest of the world, borders, or systemic/
bureaucratic complexity): As symbols of the USA, the Statue of
Liberty and Emma Lazurus’ poem The new colossus engraved on its base
show
Tenor/analysis 1) (for example, following the pattern above) …how the
USA successfully accomplished [fill in]/failed with [fill in] and so
the USA’s established traditions deserve respectful consideration and
reflection upon application to personal life/should be ignored as
inapplicable or avoided as counterproductive

Tenor/analysis 2) (students’ choice)

THE MAN. Hail, Sphinx: salutation from Julius Caesar! I have
wandered in many lands, seeking the lost regions from which my
birth into this world exiled me, and the company of creatures
such as I myself. I have found flocks and pastures, men and
cities, but no other Caesar, no air native to me, no man kindred
to me, none who can do my day's deed, and think my night's
thought. In the little world yonder, Sphinx, my place is as high
as yours in this great desert; only I wander, and you sit still;
I conquer, and you endure; I work and wonder, you watch and wait;
I look up and am dazzled, look down and am darkened, look round
and am puzzled, whilst your eyes never turn from looking out--out
of the world--to the lost region--the home from which we have
strayed. Sphinx, you and I, strangers to the race of men, are no
strangers to one another: have I not been conscious of you and of
this place since I was born? Rome is a madman's dream: this is my
Reality. These starry lamps of yours I have seen from afar in
Gaul, in Britain, in Spain, in Thessaly, signalling great secrets
to some eternal sentinel below, whose post I never could find.
And here at last is their sentinel--an image of the constant and
immortal part of my life, silent, full of thoughts, alone in the
silver desert. Sphinx, Sphinx: I have climbed mountains at night
to hear in the distance the stealthy footfall of the winds that
chase your sands in forbidden play--our invisible children, O
Sphinx, laughing in whispers. My way hither was the way of
destiny; for I am he of whose genius you are the symbol: part
brute, part woman, and part God--nothing of man in me at all.
Have I read your riddle, Sphinx?

----- ----- ----- ----- ----- -----
Theme ≈ vehicle + tenor
Vehicle (the literary element or device; e. g., character’s name,
symbol/metaphor used; mystery/suspense/irony):
+
Tenor (author’s intended meaning):

Comparison to today’s world (specifically, to view of self, military,
corruption, view of rest of the world, borders, or systemic/
bureaucratic complexity):

THE GIRL. Cleopatra, Queen of Egypt.

CAESAR. Queen of the Gypsies, you mean.

CLEOPATRA. You must not be disrespectful to me, or the Sphinx
will let the Romans eat you. Come up. It is quite cosy here.
…Take care. That's right. Now sit down: you may have
its other paw. (She seats herself comfortably on its left paw.)
It is very powerful and will protect us; but (shivering, and with
plaintive loneliness) it would not take any notice of me or keep
me company. I am glad you have come: I was very lonely. Did you
happen to see a white cat anywhere? …the sacred white cat: is it not
dreadful? I
brought him here to sacrifice him to the Sphinx; but when we got
a little way from the city a black cat called him, and he jumped
out of my arms and ran away to it. Do you think that the black
cat can have been my great-great-great-grandmother? …My great-
grandmother's great-grandmother was a black kitten of the sacred white
cat; and the river Nile made her his seventh wife. That is why my hair
is
so wavy. And I always want to be let do as I like, no matter
whether it is the will of the gods or not: that is because my
blood is made with Nile water. …I am the Queen; and I shall live in
the
palace at Alexandria when I have killed my brother, who drove me
out of it. When I am old enough I shall do just what I like. I
shall be able to poison the slaves and see them wriggle, and
pretend to Ftatateeta that she is going to be put into the fiery
furnace.
…
CLEOPATRA (breaking from him). I will beat somebody. I will beat
him. (She attacks the slave.) There, there, there! (The slave
flies for his life up the corridor and vanishes. She throws the
snake-skin away and jumps on the step of the throne with her arms
waving, crying) I am a real Queen at last--a real, real Queen!
Cleopatra the Queen! (Caesar shakes his head dubiously, the
advantage of the change seeming open to question from the point
of view of the general welfare of Egypt. She turns and looks at
him exultantly. Then she jumps down from the step, runs to him,
and flings her arms round him rapturously, crying) Oh, I love you
for making me a Queen.

CAESAR. But queens love only kings.

CLEOPATRA. I will make all the men I love kings. I will make you
a king. I will have many young kings, with round, strong arms;
and when I am tired of them I will whip them to death…

----- ----- ----- ----- ----- -----
Theme ≈ vehicle + tenor
Vehicle (the literary element or device; e. g., character’s name,
symbol/metaphor used; mystery/suspense/irony):
+
Tenor (author’s intended meaning):

Comparison to today’s world (specifically, to view of self, military,
corruption, view of rest of the world, borders, or systemic/
bureaucratic complexity):

POTHINUS. The King's treasury is poor, Caesar.

CAESAR Pothinus: I want 1,600 talents.
…
POTHINUS (aghast). Forty million sesterces! Impossible. There is
not so much money in the King's treasury.

CAESAR (encouragingly). ONLY sixteen hundred talents, Pothinus.
Why count it in sesterces? A sestertius is only worth a loaf of
bread.

POTHINUS. And a talent is worth a racehorse. I say it is
impossible. We have been at strife here, because the King's
sister Cleopatra falsely claims his throne. The King's taxes have
not been collected for a whole year. …Is it possible that Caesar, the
conqueror of
the world, has time to occupy himself with such a trifle as our
taxes?

CAESAR. My friend: taxes are the chief business of a conqueror of
the world.

POTHINUS. Then take warning, Caesar. This day, the treasures of
the temples and the gold of the King's treasury will be sent to
the mint to be melted down for our ransom in the sight of the
people. They shall see us sitting under bare walls and drinking
from wooden cups. And their wrath be on your head, Caesar, if you
force us to this sacrilege!

CAESAR. Do not fear, Pothinus: the people know how well wine
tastes in wooden cups.
…
POTHINUS. It is useless to try to bluff us, Rufio. Caesar has
been defeated before and may be defeated again. A few weeks ago
Caesar was flying for his life before Pompey: a few months hence
he may be flying for his life before Cato and Juba of Numidia,
the African King.
…
POTHINUS (desperately). Then I make a last appeal to Caesar's
justice. I shall call a witness to prove that but for us, the
Roman army of occupation, led by the greatest soldier in the
world, would now have Caesar at its mercy. (Calling through the
loggia) Ho, there, Lucius Septimius (Caesar starts, deeply
moved): if my voice can reach you, come forth and testify before
Caesar.

CAESAR (shrinking). No, no.
…
POTHINUS. Bear witness, Lucius Septimius. Caesar came hither in
pursuit of his foe. Did we shelter his foe?

LUCIUS. As Pompey's foot touched the Egyptian shore, his head
fell by the stroke of my sword.
…
POTHINUS. Our first gift to you, as your galley came into the
roadstead, was the head of your rival for the empire of the
world. Bear witness, Lucius Septimius: is it not so?

LUCIUS. It is so. With this hand, that slew Pompey, I placed his
head at the feet of Caesar.

CAESAR. Murderer! So would you have slain Caesar, had Pompey been
victorious at Pharsalia.

----- ----- ----- ----- ----- -----
Theme ≈ vehicle + tenor
Vehicle (the literary element or device; e. g., character’s name,
symbol/metaphor used; mystery/suspense/irony):
+
Tenor (author’s intended meaning):

Comparison to today’s world (specifically, to view of self, military,
corruption, view of rest of the world, borders, or systemic/
bureaucratic complexity):

CLEOPATRA. Oh yes, yes. You are very sentimental, Caesar; but you
are clever; and if you do as I tell you, you will soon learn to
govern.
…
CLEOPATRA (kneeling beside him and looking at him with eager
interest, half real, half affected to show how intelligent she
is). You must not talk to me now as if I were a child.
…
CLFOPATRA. Work! What nonsense! You must remember that you are a
King now: I have made you one. Kings don't work.


CAESAR. Oh! Who told you that, little kitten? Eh?

CLEOPATRA. My father was King of Egypt; and he never worked. But
he was a great King, and cut off my sister's head because she
rebelled against him and took the throne from him.

CAESAR. Well; and how did he get his throne back again?

CLEOPATRA (eagerly, her eyes lighting up). I will tell you. A
beautiful young man, with strong round arms, came over the desert
with many horsemen, and slew my sister's husband and gave my
father back his throne. (Wistfully) I was only twelve then. Oh, I
wish he would come again, now that I am a Queen. I would
make him my husband.

CAESAR. It might be managed, perhaps; for it was I who sent that
beautiful young man to help your father.

CLEOPATRA (enraptured). You know him!

CAESAR (nodding). I do.

CLEOPATRA. Has he come with you? (Caesar shakes his head: she is
cruelly disappointed.) Oh, I wish he had, I wish he had. If only
I were a little older; so that he might not think me a mere
kitten, as you do! But perhaps that is because YOU are old. He is
many, MANY years younger than you, is he not?

CAESAR (as if swallowing a pill). He is somewhat younger.

CLEOPATRA. Would he be my husband, do you think, if I asked him?

CAESAR. Very likely.

CLEOPATRA. But I should not like to ask him. Could you not
persuade him to ask me--without knowing that I wanted him to?

CAESAR (touched by her innocence of the beautiful young
man's character). My poor child!

CLEOPATRA. Why do you say that as if you were sorry for me? Does
he love anyone else?

CAESAR. I am afraid so.

CLEOPATRA (tearfully). Then I shall not be his first love.

CAESAR. Not quite the first. He is greatly admired by women.

CLEOPATRA. I wish I could be the first. But if he loves me, I
will make him kill all the rest. Tell me: is he still beautiful?
Do his strong round arms shine in the sun like marble?

CAESAR. He is in excellent condition--considering how much he
eats and drinks.

CLEOPATRA. Oh, you must not say common, earthly things about him;
for I love him. He is a god.

CAESAR. He is a great captain of horsemen, and swifter of foot
than any other Roman.

CLEOPATRA. What is his real name?

CAESAR (puzzled). His REAL name?

CLEOPATRA. Yes. I always call him Horus, because Horus is the
most beautiful of our gods. But I want to know his real name.

CAESAR. His name is Mark Antony.

CLEOPATRA (musically). Mark Antony, Mark Antony, Mark Antony!
What a beautiful name! (She throws her arms round Caesar's neck.)
Oh, how I love you for sending him to help my father! Did you
love my father very much?

CAESAR. No, my child; but your father, as you say, never worked.
I always work. So when he lost his crown he had to promise me
16,000 talents to get it back for him.

CLEOPATRA. Did he ever pay you?

CAESAR. Not in full.

CLEOPATRA. He was quite right: it was too dear. The whole world
is not worth 16,000 talents.

CAESAR. That is perhaps true, Cleopatra. Those Egyptians who work
paid as much of it as he could drag from them. The rest is still
due. But as I most likely shall not get it, I must go back to my
work. So you must run away for a little and send my secretary to
me.

CLEOPATRA (coaxing). No: I want to stay and hear you talk about
Mark Antony.

CAESAR. But if I do not get to work, Pothinus and the rest of
them will cut us off from the harbor; and then the way from Rome
will be blocked.

CLEOPATRA. No matter: I don't want you to go back to Rome.

CAESAR. But you want Mark Antony to come from it.

CLEOPATRA (springing up). Oh yes, yes, yes: I forgot. Go quickly
and work, Caesar; and keep the way over the sea open for my Mark
Antony. (She runs out through the loggia, kissing her hand to
Mark Antony across the sea.)

----- ----- ----- ----- ----- -----
Theme ≈ vehicle + tenor
Vehicle (the literary element or device; e. g., character’s name,
symbol/metaphor used; mystery/suspense/irony):
+
Tenor (author’s intended meaning):

Comparison to today’s world (specifically, to view of self, military,
corruption, view of rest of the world, borders, or systemic/
bureaucratic complexity):


THEODOTUS (on the steps, with uplifted arms). Horror unspeakable!
Woe, alas! Help!

RUFIO. What now?

CAESAR (frowning). Who is slain?

THEODOTUS. Slain! Oh, worse than the death of ten thousand men!
Loss irreparable to mankind!

RUFIO. What has happened, man?

THEODOTUS (rushing down the hall between them). The fire has
spread from your ships. The first of the seven wonders of the
world perishes. The library of Alexandria is in flames.

RUFIO. Psha! (Quite relieved, he goes up to the loggia and
watches the preparations of the troops on the beach.)

CAESAR. Is that all?

THEODOTUS (unable to believe his senses). All! Caesar: will you
go down to posterity as a barbarous soldier too ignorant to know
the value of books?

CAESAR. Theodotus: I am an author myself; and I tell you it is
better that the Egyptians should live their lives than dream them
away with the help of books.

THEODOTUS (kneeling, with genuine literary emotion: the passion
of the pedant). Caesar: once in ten generations of men, the world
gains an immortal book.

CAESAR (inflexible). If it did not flatter mankind, the common
executioner would burn it.

THEODOTUS. Without history, death would lay you beside your
meanest soldier.

CAESAR. Death will do that in any case. I ask no better grave.

THEODOTUS. What is burning there is the memory of mankind.

CAESAR. A shameful memory. Let it burn.

THEODOTUS (wildly). Will you destroy the past?

CAESAR. Ay, and build the future with its ruins. (Theodotus, in
despair, strikes himself on the temples with his fists.) But
harken, Theodotus, teacher of kings: you who valued Pompey's head
no more than a shepherd values an onion, and who now kneel to me,
with tears in your old eyes, to plead for a few sheepskins
scrawled with errors. I cannot spare you a man or a bucket of
water just now; but you shall pass freely out of the palace. Now,
away with you to Achillas; and borrow his legions to put out the
fire. (He hurries him to the steps.)

POTHINUS (significantly). You understand, Theodotus: I remain a
prisoner.

THEODOTUS. A prisoner!

CAESAR. Will you stay to talk whilst the memory of mankind is
burning? (Calling through the loggia) Ho there! Pass Theodotus
out. (To Theodotus) Away with you.

THEODOTUS (to Pothinus). I must go to save the library. (He
hurries out.)
…
RUFIO …Where are those Egyptians? Is this
more clemency? Have you let them go?

CAESAR (chuckling). I have let Theodotus go to save the library.
We must respect literature, Rufio.

RUFIO (raging). Folly on folly's head! I believe if you could
bring back all the dead of Spain, Gaul and Thessaly to life, you
would do it that we might have the trouble of fighting them over
again.

CAESAR. Might not the gods destroy the world if their only
thought were to be at peace next year? (Rufio, out of all
patience, turns away in anger. Caesar suddenly grips his
sleeve, and adds slyly in his ear.) Besides, my friend: every
Egyptian we imprison means imprisoning two Roman soldiers to
guard him. Eh?

RUFIO. Agh! I might have known there was some fox's trick behind
your fine talking. (He gets away from Caesar with an ill-humored
shrug, and goes to the balcony for another look at the
preparations; finally goes out.)
…
CLEOPATRA. They are drying up the harbor with buckets--a
multitude of soldiers--over there (pointing out across the sea to
her left)--they are dipping up the water.

RUFIO (hastening to look). It is true. The Egyptian army!
Crawling over the edge of the west harbor like locusts. (With
sudden anger he strides down to Caesar.) This is your accursed
clemency, Caesar. Theodotus has brought them.

CAESAR (delighted at his own cleverness). I meant him to, Rufio.
They have come to put out the fire. The library will keep them
busy whilst we seize the lighthouse. Eh? (He rushes out buoyantly
through the loggia, followed by Britannus.)

RUFIO (disgustedly). More foxing! Agh! (He rushes off. A shout
from the soldiers announces the appearance of Caesar below).

----- ----- ----- ----- ----- -----