Milton and Shakespeare: Julius Caesar vs Paradise Lost

Introduction

When comparing John Milton and William Shakespeare, it is interesting to note the similarities and parallels between works such as Julius Caesar and Paradise Lost. The characters in both works demonstrate how the underlying politics of their relationships create a platform for the ultimate betrayal of their respective autocratic leaders. In his poem "On Shakespeare," Milton shows his admiration for Shakespeare, as well as the common belief that the spirit of an author continues through his words and in the admiration of his audiences. Both Milton and Shakespeare thus continue to live on in the admiration of their audiences and in works of art such as films.

Milton's "On Shakespeare": Admiration and Immortality

"On Shakespeare" was the first of Milton's works to be published. It was composed in 1630 and published in the Second Folio of Shakespeare's plays in 1632, where it appeared among other eulogies and verses written in Shakespeare's honor (Poetry Foundation, 2011). In the poem, Milton promotes an opinion that was prevalent at the time — that Shakespeare was an "untutored genius." With his formal education stopping at grammar school, Shakespeare was a natural poet who used easy, flowing language rather than the highly intellectual artistry of many of his contemporaries.

Another theme in Milton's poem concerns the monument and its adequacy as a tribute to Shakespeare's legacy and his potential for intellectual immortality. Milton recognizes that physically erected monuments in Shakespeare's honor are inadequate to memorialize his genius. Instead, his readers function as his true monument. Milton echoes a theme found in Shakespeare's Sonnets: that the words and ideas of his art, and the readers who appreciate them, are what truly creates a monument for the artist (Poetry Foundation, 2011). In this way, Shakespeare's words and readers combine to provide him a fitting and immortal monument (Hunter, 1986, p. 88). The phrase "Make us marble" is particularly significant here, as marble serves as a metaphor for the monument that readers become through reading and admiring Shakespeare's works.

Even in writing this tribute, and despite his clear admiration for Shakespeare, it is unlikely that Milton relied greatly on the playwright for subject matter or influence, having concentrated his own work mainly on religious and biblical themes. Hunter (1986, p. 88) suggests that Milton's epitaph may indicate his familiarity with epitaph literature in general and his awareness of other Shakespeare epitaphs in particular.

Betrayal and Power in Julius Caesar and Paradise Lost

This is not to say that similarities between Shakespeare and Milton are absent. When considering Shakespeare's Julius Caesar alongside Milton's Paradise Lost, certain parallels become clear. Brutus and Satan, for example, share notable similarities in terms of betrayal and power. Although one work is religious and the other political, both share the theme of betrayal by a trusted and beloved subordinate, and both focus on power as the primary instigator of that betrayal (Textual Tapestry, 2009).

In Julius Caesar, Brutus is a tragic hero whose actions do not stem from initially negative intentions. He harbors noble intentions but is unwittingly drawn in by those who seek civil war in Rome. A comparison can be drawn with Milton's Satan, who is similarly a victim of the political circumstances surrounding him. Although Satan and God are religious figures, their relationship — and their relationships with those around them — is primarily driven by the politics of power. Both Satan and Brutus are encouraged, or even compelled, by circumstance to betray their supreme rulers. Both God and Julius Caesar are portrayed as rulers whose power is absolute, and both place trust in subordinates who ultimately betray them. In each case, the betrayal engages profound questions of morality (Textual Tapestry, 2009).

In the case of Satan, while betrayal is often regarded as almost inevitable given the assumption of evil in his character, the comparison with Brutus suggests that evil is not the primary motivation for his rebellion against God. Additional factors — such as the hierarchical relationship between subordinate and ruler, and the hunger for power — are equally significant. This dynamic creates a platform for betrayal rooted not solely in the moral failings of the traitors, but also in how they experience loyalty and power within oppressive systems.

In Shakespeare's play, Caesar's ambition overtakes his higher ideals as he seeks to usurp the Roman Republic. This ambition instigates Brutus's resentment and his ultimate decision to betray Caesar. For Brutus, the decision causes profound mental anguish. He spends considerable time contemplating Caesar's nature — tyrant versus friend — and his choice hinges on whether the greater good is best served by eliminating Caesar, and whether that greater good justifies betraying both his friendship and his leader.

There is also a parallel in the imagery both authors employ. Several biblical elements appear in the themes used by both Shakespeare and Milton. Caesar's increasing tyranny, for example, can be compared to the "adder" of Paradise Lost, with evil personified in Caesar's character in a manner analogous to Milton's serpent imagery. In this respect, Shakespeare's story is somewhat more complex than Milton's: in Paradise Lost, the characters occupy clearly defined religious poles, whereas in Julius Caesar, both poles — treachery and absolute power — are represented within morally ambiguous human figures. God, by contrast, could never be compared to the image of the serpent.

As a man, Caesar cannot successfully claim superhuman or godlike power. He seeks divine authority and dominion over others, but being known as a man, he succeeds only in generating resentment and jealousy among his subordinates. Shakespeare uses this characterization to justify the eventual assassination.

Another comparable element is Caesar's gift for oratory — a charisma that Milton's Satan equally possesses. Both characters use their charm to gain popular support for their cause. It is also notable that Brutus possesses significant oratorical skills of his own, which he deploys to build support for an action that would otherwise be considered morally reprehensible.

Satan's rebellion is instigated when God, much like Caesar, makes a fundamental political change without consultation. In this, God is again aligned with Caesar, while Satan corresponds to the rebellious Brutus. Both God and Caesar are dictatorial figures whose decisions are not open to discussion. This absence of input from subordinates fosters a spirit of rebellion. While Satan is generally accepted as an evil figure, Milton portrays his betrayal as a logical consequence of God's dictatorship and absolute power.

Conclusion

In conclusion, it is clear that Milton had significant admiration for Shakespeare. In his epitaph to the playwright and poet, he follows the conventions of epitaph literature of the time to affirm Shakespeare's longevity through his work and his audiences. Given the continued popularity of Shakespeare's work in modern adaptations such as film, it appears that Milton's words have indeed proved prophetic.

When examining the similarities between Shakespeare's Julius Caesar and Milton's Paradise Lost, several clear parallels emerge among the main characters — with Caesar broadly taking the role of God and Brutus that of Satan, though these roles sometimes merge within the same character in Shakespeare's more humanized treatment. One might therefore argue that Milton was, either consciously or unconsciously, influenced by Shakespeare, at least in the writing of Paradise Lost. Although written on religious subject matter, the politics underpinning the religious relationships are unmistakable. Satan decides to betray God for many of the same reasons that Brutus betrays Caesar.

In general, then, Milton appears to have channeled his admiration for Shakespeare into works that are uniquely his own — works for which he will be remembered and immortalized in much the same way as the great playwright. Milton's words live on to engage and inspire audiences centuries after his death.

References

Hunter, W. B. (1986). Milton's English Poetry. Bucknell University Press.

Luxon, T. H. (2008, March). The Milton Reading Room. Retrieved from

Poetry Foundation. (2011). Biography: John Milton. Retrieved from http://www.poetryfoundation.org/bio/john-milton

Textual Tapestry. (2009, November 10). Comparables between Shakespeare's Julius Caesar and John Milton's Paradise Lost. Retrieved from http://textualtapestry.wordpress.com/2009/11/10/comparables-between-shakespeare%E2%80%99s-julius-caesar-and-john-milton%E2%80%99s-paradise-lost/