The use of parallels between the first and second scenes of Act II is an intentional theatrical device by Shakespeare that modern critics refer to as dialogic. The word dialogic, broken down, has the prefix dia-, meaning across, and the root logic, indicating sense or meaning. Thus, simply stated, dialogic suggests that the meaning of one scene should be applied to a second scene, and the meaning of the second scene should be applied to the earlier scene. The connections between the two scenes are indicated by the use of signs (semiotics), words or ideas that are repeated with slight or little variation.
Both the first and second scenes of Act II contain husband and wife dialogues, and in both cases the wives are making a request of their husbands. One of the semiotic devices (or signs) that occurs in the play is kneeling (getting down on one’s knees). Both Portia and Calpurnia kneel down to their husbands. Members sitting in the audience will readily recall the events of the previous scene as they watch the latter one. In their minds, perhaps subconsciously, they will then compare the two scenes.
ACT II, 1 Brutus and Portia |
ACT II, 2 Caesar and Calpurnia |
husband and wife dialogue (line 232+) |
husband and wife dialogue (line 8+) |
Portia worried about Brutus |
Calpurnia worried about Caesar |
Brutus troubled about conspiracy |
Caesar troubled about omens and dreams |
Portia kneels when she asks Brutus to reveal his troubles (line 269) |
Calpurnia kneels when she asks Caesar to stay at home (line 54) |
More important than the similarities are the differences. The scene between Brutus and Portia ends with Brutus agreeing to do as his wife asks and recognizing the worthiness of the woman he married (Act II, 1: 301-07). But the scene between Caesar and Calpurnia ends with Caesar disagreeing with his wife and referring to her worries as “foolish” (Act II, 2: 105-07). The excellent relationship that Brutus has with his wife is in contrast to the relationship between Caesar and his wife. Moreover, the concepts of love, truth, and honor underscore (or emphasize) heavily the relationship between Brutus and Portia. But the concepts of fear, contradiction, and false bravado (or boasting) are more evident in the relationship between Caesar and Calpurnia. Caesar is less honorable and less honest than is Brutus. Thus, the tragedy of Brutus is far more regrettable, sad, and heartrending than that of Caesar.
Brutus is a better tragic character than is Caesar.