A crux (a puzzling problem) appears in the second scene of Act IV. The problem involves the death of Portia, Brutus’ wife. In his conversation with Cassius, Brutus informs his comrade that Portia is dead (lines 199-201). But only forty lines later, when Messala informs Brutus that Portia has died, Brutus responds as if he is hearing this news for the first time (lines 239-42). Brutus does not seem to know already that Portia is dead.
Some critics have suggested that the reason for this problem or inconsistency in the play is a result of poor editing. These critics suggest that possibly Shakespeare revised his play and had forgotten to remove the earlier reference to Portia’s death.
These critics, however, are most likely mistaken. The two references to Portia’s death are placed so closely together that is highly improbable that Shakespeare would have missed such a problem. Rather, Shakespeare did intend for both passages concerning the death to be included in the scene.
The careful reader should examine the contexts in which the two passages occur. In the first passage Brutus is in his tent with Cassius, and they have just finished a rather heated argument or verbal fight. Cassius is surprised that Brutus “could have been so angry” (195). He then tells Brutus, “Of your philosophy you make no use, if you give place to accidental evils” (197-98). By “accidental evils” Cassius means misfortunes or bad luck, and by “give place” Cassius means to become emotionally affected. But the key words in this passage are “your philosophy.” As explained earlier, Brutus is a stoic: he follows the philosophy of stoicism. Stoics believe they should always be in control of their emotions. Thus, Cassius is extremely surprised that Brutus could become so angry and so emotional over this small matter of bribes. This type of behavior is certainly not typical of Brutus.
At this point in the scene Brutus then announces Portia’s death: “No man bears sorrows better. Portia is dead” (199). By bearing “sorrows” Brutus means controlling emotions. Brutus is explaining to Cassius why he became so emotional during their argument. Brutus had never before allowed his emotions to take over his reason in the past (the Reason vs. Emotion conflict). But his grief and sorrow over the death of his wife were just too much to control, even for the most stoical of Romans. As seen earlier, Brutus was extremely close to his wife. She was his spouse, best friend, and confidant Thus, Shakespeare is revealing once again in his plays that even the most rational and noblest of men must give in to their emotions when those emotions are so strong. It was not anger that caused Brutus to argue with Cassius. The cause was grief. The cause was sorrow.
Brutus, then, revealed the cause of his emotions to Cassius within the privacy of his own tent. Brutus was, perhaps, surprised himself that he had become so emotional; and he felt that he owed Cassius an explanation.
Later, after the Romans Titinius and Messala enter the tent, Brutus tells Cassius to speak no more about Portia: “No more, I pray you” (218). They are no longer alone, and Brutus does not wish to appear emotional or weak before his men. Brutus returns to being the cool and rational stoic once more.
So, when Messala informs Brutus that Portia is dead (in line 241), Brutus responds with cool and unemotional words: “Why, farewell, Portia” (242). And, thus, Brutus presents his usual calm and rational self to his men. Brutus must lead these men into war, and he certainly does not wish to appear weak or wildly emotional before them.
And, so, with the two passages concerning Portia’s death, Shakespeare reveals the emotional nature and feelings of Brutus while yet preserving the stoical aspect of his personality. Shakespeare both illustrates Brutus’ stoical persona and yet also presents the conflict of reason vs. emotion in this, the noblest of men. Shakespeare reveals that even in a Brutus, there can occur a time when the emotions overpower the reason.
As evening approaches, Brutus continues to be distracted and sorrowful. He worries about the battle that must take place on the next day, and his grief over Portia’s death is still with him. Brutus is unable to sleep, and he asks his young servant to play his musical instrument and sing a song. The servant, however, is extremely tired and falls asleep in the midst of his own song (line 318). Brutus then decides to read a book by candlelight.
According to medieval superstition, the light of a candle will flicker or appear dim if a ghost is in the room. Brutus complains about his candle (line 326) and then realizes that there is someone else in the tent with him. He then sees the ghost of Caesar. The appearance of a ghost in a Shakespeare
play may be viewed either literally or symbolically. On the literal level, the ghost is indeed a supernatural creature that has come down to harm (or occasionally help) the person he is visiting. On the symbolic level, the ghost represents a psychological fear or anxiety of the person he is visiting. But in most of the plays, Shakespeare apparently wants his audiences to see the ghost on both the literal and symbolic levels.
In addition to his worries and sorrows, Brutus also is still experiencing guilt over the death of Julius Caesar. Caesar was Brutus’ friend, and Brutus loved Caesar like a brother. Brutus participated in the assassination reluctantly. He decided that serving the people of Rome was more important than his own personal feelings for Caesar. But no matter how much time has passed, feelings of guilt never entirely disappear. This, too, is an extremely strong emotion. And it is an emotion that Brutus had sought to bury deep within himself. Thus, the ghost of Caesar is a psychological manifestation (or expression) of that guilt.
Yet Shakespeare also believes in forces that surpass nature. Fate is one such supernatural force, and fate is a concept that Shakespeare examines throughout many of his plays. Thus, the ghost in this play could be the spirit of the dead or “some god, some angel, or some devil” (330). Whatever the ghost might be, Brutus realizes that its appearance does not signify anything good. The ghost warns (or perhaps threatens) Brutus that he will appear again before Brutus on the battlefield at Philippi (line 335). Brutus knows that his future depends upon his success or failure on that battlefield. If a ghost, which is most likely an omen (or prediction) of death, is to appear before him, that cannot be a positive sign. However, before Brutus gets his courage up to ask the ghost any other questions, the ghost disappears. Brutus then wonders if the image he saw before him was just his imagination or a dream. And, in that way, Shakespeare leaves his audience wondering that too. Is the ghost a real ghost? Or is it a product of Brutus’ imagination?