More Than Anything Else, Conflicting Perspectives Are a Result of Self Interest

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William Shakespeare’s ironic play Julius Caesar (1599) and James Cameron’s film Avatar (2009) similarly display conflicting perspectives as a result of self-interest. Shakespeare develops a contemporary context, representing the fears of 16th Century England to display his views on creating an ethical society. Correspondingly, Cameron displays his own representation of a dying world and the self-interest which plays the foremost part in destroying it. Each text provides a representation of the self-interest of the composer toward developing an equal, just and unselfish word. The representation of these perspectives are emphasised to express the conflicting values that influence the response of humanity towards personalities, situations and events.

William Shakespeare identifies his conflicting perspectives with 16th Century English society by utilising the concept of everyman. Brutus represents ‘everyman’ within the drama allowing the audience to associate and relate this is shown significantly in Act 3 Scene 1. Shakespeare employs symbolism and imagery depicting a man’s lust for blood and violence “let us bathe our hands in Caesar’s blood”. An initial reading of the text would suggest Shakespeare cleverly interprets a noble act of Brutus in honouring Caesar’s death but rather exposing his attraction for brutality and bloodshed. The violent attraction which Brutus possesses is due to all men to satisfy an inner need for violence, the attraction that is displayed in Brutus demonstrates Shakespeare’s fear of a violent English society. Shakespeare employs the repetition of “noble” to create Antanaclasis. Shakespeare reverses the 21st Century meaning of noble, whilst allows the audience to view a 16th century view of nobility as a cause of tyranny and oppression. From one reading of the text, Shakespeare creates an ironic context that views Brutus a tyrannous noble in which he is a descendent from a line that destroyed the oppressive nature of the monarch. In...
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