Key Quote
“"The evil that men do lives after them; the good is oft interred with their bones"”
Antony · Act 3, Scene 2
Focus: “interred”
Antony's observation — that evil outlasts good in public memory — is both a truth about human nature and a rhetorical setup for his manipulation of the Roman crowd.
Technique 1 — ANTITHESIS / PARALLEL STRUCTURE
The antithesis (placing contrasting ideas side by side) of 'evil... lives' versus 'good... interred' creates a stark moral equation: evil endures, goodness perishes. The parallel structure — 'The [X] that men do [Y]' — gives the line the weight of universal law. Shakespeare crafts a statement so balanced and memorable it functions as a maxim (a concise rule of conduct), appearing to state objective truth while actually serving Antony's rhetorical strategy.
The verb 'interred' (buried) links goodness to death — literally placing virtue in the grave. The personification of evil as something that 'lives' gives it agency and permanence, while good is passive, acted upon, buried by others. Shakespeare's grammar enacts the very injustice it describes: even in language, evil gets the active verb.
Key Words
RAD — PROGRESS
Antony progresses dramatically in this scene: he enters as a seemingly grief-stricken mourner and emerges as the play's most powerful political force. His rhetorical progression — from apparent humility to crowd manipulation — demonstrates how language can transform power dynamics. Antony's growth is in political intelligence: he understands that emotions, not arguments, move crowds.
Key Words
Technique 2 — IRONIC UNDERSTATEMENT / PRAETERITIO
Antony repeatedly claims he comes 'to bury Caesar, not to praise him' — a technique called praeteritio (mentioning something by saying you won't mention it). Every 'I do not wish to say...' effectively says it. This ironic understatement allows Antony to praise Caesar while maintaining plausible deniability. Shakespeare exposes the mechanics of demagogic (appealing to emotions rather than reason) rhetoric: the most effective persuasion disguises itself as reluctance.
The repeated refrain 'Brutus is an honourable man' transforms through repetition from apparent respect to devastating sarcasm (saying the opposite of what you mean). Each repetition loads the word 'honourable' with more irony until it collapses under the weight — honour becomes indistinguishable from treachery. Shakespeare demonstrates how repetition can invert meaning.
Key Words
Context (AO3)
ROMAN ORATORY
The funeral oration was a central institution of Roman political life — the ability to move crowds through speech could determine the fate of the Republic. Cicero, Rome's greatest orator, was a contemporary of these events. Shakespeare shows how rhetorical skill can be more powerful than military force.
PRINT & PROPAGANDA
Shakespeare wrote during the early age of print propaganda — the use of published material to shape public opinion. Antony's speech dramatises the power of persuasive communication to manipulate crowds, anticipating modern concerns about media manipulation and political spin.
Key Words
WOW — MANUFACTURING CONSENT (Chomsky / Gramsci)
Noam Chomsky's concept of manufacturing consent — the process by which media and elites shape public opinion to serve their interests — illuminates Antony's speech. He does not argue logically; he manipulates emotionally, using Caesar's body, will, and wounds as spectacle to override the crowd's rational assessment. Gramsci's concept of hegemony (domination through consent rather than force) is equally relevant: Antony achieves power not through military might but through persuasion — making the crowd WANT what he wants. Shakespeare demonstrates that the most effective power is the kind that makes people believe they are acting freely while they are actually being directed. Antony's speech is a masterclass in turning grief into political capital — a technique that remains central to political communication today.
Key Words