To celebrate William Shakespeare on his birthday in April, I have embarked on an exciting journey of studying three of the Bard's plays that I have not yet seen.

My Shakespeare plan involves locating a staging of each play and then listening to and watching it on my Macbook while closely following along with as much of the original text as is incorporated in the production. Later, I will read the entire play in the modern English version.

A good friend from high school recommended this system to me, and I firmly believe it has been an excellent way to delight the mind in Shakespeare. This month, I am set to dive deep into three of Shakespeare's political dramas.

Scholars estimate that Julius Caesar was written in 1599 and was likely one of the first plays to be performed at the Globe Theatre in Southwark, which began construction in January of that year. Sir Thomas North's translation of Lives of the Noble Grecians and Romans by Plutarch provided Shakespeare with a wealth of material, not only for his dramatization of Caesar's assassination in 44 B.C. but also for most of the playwright's Roman-based plays. Shakespeare took significant liberties with history, condensing three years of battle into six days, expanding the roles of Portia and Calpurnia, and putting his own words into the mouths of the historic figures.

The staging I chose was the BBC Television Shakespeare production from 1979, starring Charles Gray as Caesar, Richard Pasco as Brutus, and Keith Mitchell as Marc Antony. Although there were no familiar faces in the cast to me, they acquitted themselves well, especially David Collings as Cassius. The set design and movement for the first two-thirds of the production were rich and invigorating.

However, as for the play itself, I was not overly compelled. Much of it felt like I was simply checking a box or, worse, completing an assignment for school. The major attribute of Julius Caesar is Shakespeare's atom-splitting dialogue, some of which has transcended centuries.

For example, in Act one, Scene 2, the Soothsayer warns, "Beware the ides of March." Cassius also states, "Men at some time are masters of their fates: the fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings. Brutus and Caesar: what should be that 'Caesar'? Why should that name be sounded more than yours?"

In Act three, Scene 1, Caesar exclaims, "Et tu, Brute? Then fall, Caesar!" And Antony declares, "And Caesar's spirit, ranging for revenge, with Ate by his side come hot from hell, shall in these confines with a monarch's voice cry havoc and let slip the dogs of war, that this foul deed shall smell above the earth with carrion men, groaning for burial."

Julius Caesar chronicles the plot of eight Roman senators, instigated by the lean and hungry Cassius and fronted by the stoic orator Brutus, to murder the populist Julius Caesar, whom the Roman senate is preparing to crown as king. There are some interesting parallels to recent events in the U.S., with men of honorable intentions conspiring against a leader in the name of freedom when, in reality, they are envious of his popularity and fearful of his mandate to change things. Shakespeare also shows the fickleness of the public, hailing Caesar as a champion one moment and cursing him as a tyrant the next, based on what's trending in the Forum.

There are two female roles in the play: Brutus' wife Portia and Caesar's wife Calpurnia. They are almost the same part, wary of the danger to their powerful husbands and not wanting them to leave the house. Of course, neither Brutus nor Caesar pays any attention, going to the capitol and ultimately getting themselves killed.

I was compelled here and there by Shakespeare's facility with witty dialogue, particularly in the opening scene of the play featuring Roman rabble marching to hail great Caesar. However, considering the subject matter, the play is hardly funny. The last third drags with an asinine battle involving characters I never felt emotionally compelled by.

Joe's Current Ranking of Shakespeare Plays (From Most to Least Favorite):
1) Hamlet
2) Much Ado About Nothing
3) Twelfth Night
4) As You Like It
5) Macbeth
6) The Merchant of Venice
7) A Midsummer Night's Dream
8) Othello
9) Julius Caesar
10) King Lear
11) Romeo and Juliet
12) The Taming of the Shrew
13) The Tempest

“Et tu, Brute?”

These famous lines have long haunted audiences and readers alike. Ever since The Bard first presented this play, believed to be in 1599 when Shakespeare was 35, it has captivated minds.

This tragedy, rather than simply presenting a biography of the leader, brings to life scenes from Roman history and forms a profound study in loyalty, honor, patriotism, and friendship.

Antony's speech, "Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him...", has been memorized and recited by countless people over the centuries. It stands as a powerful testament to subtle revenge and stubborn leadership.

Just like Milton's Satan and Shakespeare's Edmund from King Lear, the most interesting character in this play is the villain Brutus. But was he truly a villain? He was written as a sympathetic antagonist. His conflicting thoughts on loyalty and honor are the most memorable elements of one of Shakespeare's finest plays.

The latest addition to our Litsy group is Shakespeare's work, and this time, I had the honor of being the organizer, which is why there are so many pictures.

When I think back to high school, I failed to read this assignment but was still exposed to it. At that time, I was worried that it might not be that great. I thought it might consist of a bunch of overly formal and stodgy speeches that would seem ridiculous in our era. However, for some reason, I was extremely pleased to discover just how alive this play truly is. This was the play that opened the Globe Theatre, and it was likely intended to make a statement about Shakespeare's company. Apparently, it had extensive special effects, and a great deal of action occurs on the stage that might otherwise only be described in the dialogue. Of course, Caesar is assassinated on the stage, stabbed by his knife-wielding fellow senators, which leads to the play's most famous line. (I believe that some of the lines in the play are even more famous than the play itself - such as "Et Tu Brute", "Friends, Romans, Countrymen", "The fault, dear Brutus, is not in our stars / But in ourselves", and "Cry Havoc and Let Slip the Dogs of War").

In any case, I really enjoyed it. It was fascinating to see how the bard made this happen, creating interest and drama on multiple levels, working in subtext, and managing a major anticlimax after the main character is killed off in Act 3. And it was also interesting to see how he managed to portray a famous act of liberty and rebellion against a ruler in Elizabethan England. Moreover, he accomplished all of this with, perhaps, very high expectations. It was truly good stuff. (Next up will be Antony and Cleopatra...a nice follow-up).

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18. The Tragedy of Julius Caesar by William Shakespeare (Folger Shakespeare Library Updated Edition)
originally performed: 1599
editors: Barbara A. Mowat and Paul Werstine, 1992, 2011
afterword “A Modern Perspective” by Coppélia Kahn
format: 300-page paperback
acquired: February
read: Mar 8 – Apr 11
time reading: 9 hr 58 min, 2 min/page
rating: 5
locations: Rome, Philippi
about the author English playwright April 23, 1564 – April 23, 1616

Another excellent play by William Shakespeare!

Shakespeare's works are renowned worldwide for their profound themes, complex characters, and beautiful language. Each play offers a unique exploration of the human condition, delving into emotions such as love, hate, jealousy, and ambition.

This particular play is no exception. It captivates the audience from the very beginning, drawing them into a world of drama and excitement. The plot unfolds with twists and turns, keeping the viewers on the edge of their seats.

The characters are vividly portrayed, with their own distinct personalities and motives. We can't help but empathize with their joys and sorrows, and become invested in their fates.

Overall, this is yet another masterpiece from the great William Shakespeare, a play that will be cherished and studied for generations to come.

When I first read Julius Caesar 4 years ago,

I had a rather mediocre impression of it. It was just sort of there, not really captivating my interest.

However, reading it this time around, my experience was completely different.

I found myself thoroughly enjoying it and even bumped my rating up to 4.

This play truly is a gem.

It is so incredibly dramatic, with intense emotions and high-stakes situations at every turn.

The political intrigue within the story is simply fascinating.

The power struggles, the betrayals, and the complex web of relationships make for a truly engaging read.

I love how Shakespeare weaves together these elements to create a story that is both thought-provoking and entertaining.

Overall, I have a newfound appreciation for Julius Caesar and would highly recommend it to anyone looking for a great play to read.

So far, I have read many Shakespeare plays, and there are always some great moments in them. However, this particular play is truly magnificent from start to finish!

2023 Shakespeare Complete works challenge

#10 - Julius Caesar

Read - 3/15/23 - 3/16/23

Rating: 5 stars ⭐️⭐️⭐️⭐️⭐️

Julius Caesar is perhaps my all-time favorite Shakespeare play. The linear plot makes it easy for me to follow along and understand the unfolding events. Moreover, the play is filled with numerous memorable lines that stay with you long after you've finished reading.

One valuable life-lesson that can be gleaned from this play is Brutus' failure to remember the crucial rule of not doing someone else's dirty work. Cassius masterminded the plot to assassinate Caesar but managed to convince Brutus to take the lead in the assassination. However, in the end, Cassius' actions led to Brutus' ultimate defeat and downfall.

Next up on my reading list will be Henry IV, Part 1. I am certain that I will read Julius Caesar again in the future as it truly strikes a chord with me and is highly entertaining.

DNF @ 60%

I read a significant portion of this, but I skipped one or two acts. Since I didn't read the entire thing, I won't mark it as read. This was incredibly boring, and I truly hated it. I most definitely will never read this book again, lol.

Et tu, Brute? is a powerful and tragic phrase that has echoed through the ages. In this story, a group of Romans plot to assassinate Julius Caesar. They convince Brutus, Caesar's trusted friend, to join them for the good of Rome. Caesar is indeed killed in the Senate, falling beneath the blows of the conspirators. The assassins justify their act as a means to free Rome from imperialism, dictatorship, and Caesar's excessive ambition. However, Mark Antony's speech reveals that Caesar's death is a betrayal that leads to civil war. Julius Caesar is a significant but complex character. He appears in only four scenes of the play that bears his name, and Shakespeare does not sympathize with him. Instead, his pride and narrow-mindedness are emphasized, while the good intentions of the conspirators are highlighted. Many argue that the real tragedy is that of Brutus, the noble Roman who falls into a fierce inner conflict after being convinced by the senators. His actions lead to civil war and a tragic fate for himself and his country. Critics consider Julius Caesar the weakest link in Shakespeare's Roman historical trilogy. However, it was the first of Shakespeare's plays that I studied in its entirety in Old English. Therefore, its conflicts have engraved themselves in my mind, and I find myself torn with Brutus in his great human loss. We should all strive to avoid justifying our own cruelties and thus avoid hearing that most painful and famous phrase: Et tu, Brute?

Et tu, Brute?

This is my very favorite.

I love it even more when it is presented on stage or screen.

During my high school years, I spent two semesters reading this Shakespearean work. At first, I mostly hated it. The language seemed archaic and difficult to understand. However, something changed when I got to the part about Caesar.

Caesar's character and the events surrounding him hooked me completely.

I found myself drawn into the story, eager to know what would happen next.

Although I had initially disliked Shakespeare, Caesar's story made me see the beauty and power of his writing.

It opened my eyes to a whole new world of literature and drama.

Now, whenever I see a production of a Shakespearean play or a movie based on his works, I am excited to experience it again.

Caesar will always hold a special place in my heart as the work that made me fall in love with Shakespeare.

"Cowards die many times before their deaths." This famous quote by Shakespeare holds a profound truth. A coward is someone who is afraid to face challenges, take risks, or stand up for what they believe in. Instead of confronting difficulties head-on, they choose to hide, run away, or give in easily.

Because of their fear, cowards often miss out on many opportunities in life. They may avoid trying new things, pursuing their dreams, or building meaningful relationships. As a result, their lives may be filled with regrets and unfulfilled potential.

In contrast, a brave person is not afraid to face the unknown and take on challenges. They are willing to step out of their comfort zone and take risks, even if it means failing. By doing so, they are able to grow, learn, and achieve great things.

So, let us all strive to be brave and not let fear hold us back. Let us face our challenges with courage and determination, and live our lives to the fullest.

**"The Forgotten Women in Julius Caesar"**

In the play Julius Caesar, men plot, make decisions, and shed blood. But on the periphery of this bloody and knife-filled scene, there are women who have seen the truth before anyone else—and their voices have been silenced in the midst of the power frenzy.

This is an old and repetitive story. Women have always seen, warned, and understood, but they have never had a place in decision-making. History is full of men who have brought the world to ruin because they have only looked with indifference at the words that come out of women's mouths. If Calpurnia had been heard, Caesar would have lived. If Portia had been taken seriously, perhaps history would have changed.

The tragedy of Caesar is not just a play. It is a picture of a world that still ignores women, that does not listen to their warnings until it is too late.

And now the essential question is: How long will the world continue to decline at the expense of ignoring the voices of women?

I invite you, by reading the following review, to join me in looking at the tragedy of Caesar from another perspective—the perspective of the women in the play—and to be the reflection of the unheard voices of the overlooked but important characters in this tragedy.

When the name Julius Caesar of Shakespeare comes to the tongue, minds usually recall the powerful men of Rome; Caesar with his proud crown, Brutus with his hidden knife, Cassius with his cunning plots, and Antony with his wisdom and eloquence. This play, which is at the heart of the tragedy of power and betrayal, has rarely been seen from the perspective of the characters who stand in the shadow of these men, that is, women. Calpurnia, Caesar's wife, and Portia, Brutus's wife, are often overlooked as passing peripheries in analyses and dialogues. But is this neglect fair? Was Shakespeare, this great storyteller of humanity, only looking to fill the scene when creating these women, or is there something deeper among them? In this review, I want to shed light on these seemingly dull characters and show that the voices of Calpurnia and Portia, although lost in the frenzy of ancient Rome, carry a message that can still be heard.

● Calpurnia, the woman whose cry against pride remained unheard.

Calpurnia first enters in Act II, Scene I, not with the complaints and grandeur of a queen, but with the fear and pleas of a wife. She wants Caesar not to go to the Senate because her dreams are full of omens. "Caesar, I never stood on ceremonies, yet now they fright me" (Act II, Scene II); these simple but profound sentences transform Calpurnia from a helpless wife to a prophet, someone who predicts disaster not from the head of superstition, but from the head of human testimony. Her dreams are full of horrible images, such as the statue of Caesar bleeding and the Romans washing their hands in this blood. Shakespeare, with this imagery, turns Calpurnia into the voice of reason against the storm of Caesar's pride. But this is only part of her story. Calpurnia is not only a prophet, but also a woman who, in the depth of her relationship with Caesar, sees his vulnerability and humanity. She does not regard Caesar as an invincible ruler, but as a husband who is in danger. This human gaze turns her from a merely symbolic character to a woman whose love and fear move her.

But what does Caesar do in response? He dismisses this warning with mockery and says, "Cowards die many times before their deaths; the valiant never taste of death but once" (Act II, Scene II). This answer, which is one of the most famous dialogues in the play, not only shows Caesar's pride, but also highlights Calpurnia's inability to penetrate his masculine world. Here Shakespeare creates a clever paradox; Calpurnia, who correctly sees the future, is condemned to silence in a world that only listens to the sword and oratory. Is it Calpurnia's fault that her voice was not heard, or is it a cultural fault that pushed women to the periphery?

To better understand this neglect, we must take a look at the historical and cultural background of ancient Rome. In Roman society, women, even noble women like Calpurnia, were deprived of direct participation in politics. They had no right to vote, could not speak in the Senate, and were often seen as tools for political union through marriage. However, the indirect influence of women behind the scenes was not negligible. Roman historians such as Tacitus and Suetonius have reports of noble wives who influenced their husbands with their advice and warnings, although this influence was rarely explicit. Calpurnia, in this context, is a representation of this traditional but limited role. She cannot accompany Caesar in the public arena, but in private, she tries to prevent him from entering the path of disaster by relying on her personal relationship. Shakespeare, aware of these limitations, places Calpurnia as a bridge between the private and public worlds; a woman who cries out at home but is not heard in the Senate. This contradiction not only deepens her character, but also introduces a clever criticism of Roman society that only hears the voices of women when they are in line with the desires of men.

Let's pause for a moment. If Caesar had listened to Calpurnia's words, would the tragedy not have happened? Perhaps this question may seem overly simplistic, but by placing Calpurnia in this position, Shakespeare forces us to think about the overlooked role of women in important decision-making. Calpurnia is not only Caesar's wife, but also a mirror of his conscience that reflects back on him. In a world where prophecies and oracles are taken seriously; like the warning of the soothsayer that warns "Beware the Ides of March," why is Calpurnia's voice, which comes from the heart of love and concern, ignored? Perhaps Shakespeare wants to say that in the frenzy of power, the first victims are the silenced voices that cry out the truth. But this is not the only part of her role. Calpurnia also shows us how love and fear can be transformed into a powerful testimony. Her dreams are not just the nightmares of a frightened woman; they are a reflection of the turmoil within Caesar and the society he rules. In this sense, Calpurnia is not only the conscience of Caesar, but also the conscience of all Rome, and ignoring her is ignoring humanity in the face of ambition.

Shakespeare, by creating Calpurnia, poses to us the question of whether she is just a helpless victim or a tragic hero on a small scale? Unlike Caesar, who goes to his death with pride, Calpurnia tries to change fate with humility and awareness. This attempt, although it fails, turns her into a more complex character than a worried wife. In her silence, she has a cry that is sounded until the end of the play, a cry that, if heard, might have rewritten the history of Rome in a different way.

● Portia, the wounded one with wounds deeper than the knife wound.

On the other side of the story, Portia, Brutus's wife, stands, a woman who attracts us not with her dreams, but with her will and courage. She enters in Act II, Scene I, asking Brutus to share the secret turmoil within him with her, saying, "I am Portia, Brutus' harlot, not his wife" (Act II, Scene I). This request, which is expressed with courage and frankness, transforms Portia from a secondary character to a driving force. She even wounds herself on her thigh to prove her loyalty and strength, saying, "I have made strong proof of my constancy, giving myself a voluntary wound here in the thigh. Can I bear that with patience, and not my husband's secrets?"

This moment, which is often lost in the shadow of the main plot of the conspiracy, is one of the most powerful images in the play. With this act, Portia not only places herself on an equal footing with men, but also in a way precedes Brutus. Brutus, who later stabs Caesar, stands here in front of a woman who has previously accepted the wound. This moment shows that Portia has a deep understanding of the meaning of sacrifice, a sacrifice that Brutus later shows in a different way by killing Caesar. But the difference is that Portia's wound is from the head of love and loyalty, while Brutus's knife is from the head of betrayal and ideology. Shakespeare, with this paradox, places Portia as a moral mirror for Brutus.

Shakespeare, with this scene, turns Portia into a symbol of sacrifice and resistance, but what is this resistance against? Not an external enemy, but the wall of silence and distrust that Brutus has built between himself and her. However, what is Brutus's answer to this courage? He first gives in and promises to tell her his secret, but at that very moment, the entrance of Cassius and the other conspirators cuts off the dialogue. Portia is once again pushed to the periphery, not because of her weakness, but because of a world that has no place for her voice.

Another interesting aspect is Portia's death. In Act IV, Scene III, Brutus tells Cassius that Portia has killed herself by swallowing fire because of the grief of Brutus's absence and the defeat of Rome. This death, which is mentioned in passing, is full of ambiguity. Did Portia really kill herself out of weakness, or was this an act of protest? Swallowing fire, which is an unusual and painful method, can be a symbol of anger and despair, a silent cry against a world that did not hear her voice. Portia, who in life tried to be heard with her wound and pleas, in her death also made a brave choice and spoke her last word. Shakespeare, with this ending, turns Portia into a tragedy within a greater tragedy. Her death is a bitter testimony to this longing. Was Portia a victim of Brutus's conspiracy, or a victim of her inability to be heard? Shakespeare leaves this question unanswered, but this very silence is a loud cry.

● Women against men

Calpurnia and Portia, although they have different roles on the surface, have one thing in common; they are the voices of reason and humanity in a world that is going to ruin. Calpurnia tries to save Caesar from death with her testimony, and Portia wants to save Brutus from inner corruption with her courage. But both fail, not because of their own inability, but because of a system that has closed its ears to them. In ancient Rome, women did not have the right to direct participation in politics, but Shakespeare shows that influence can be indirect but deep. Calpurnia and Portia, although they are far from the main stage of power (the Senate and the battlefield), are actually the guardians of morality and humanity. This paradox, that women are seen as both weak and powerful, is one of Shakespeare's masterpieces that, with its eternal subtlety, introduces a clever criticism of the male-dominated society of Rome, a criticism that extends beyond his time and reaches our age.

In many traditional analyses, Julius Caesar is read as the story of the fall of an emperor or the betrayal of a friend. But if we look from the perspective of Calpurnia and Portia, this play turns into a story of the lost voices. Shakespeare, by creating these women, challenges us to ask: If these voices had been heard, would the history of Rome (or even our own history) have been written differently? Calpurnia and Portia remind us that in every tragedy, something more than the heroes on the stage is sacrificed, something of the nature of conscience, love, and humanity.

● Why have these women been forgotten?

Perhaps you may ask why these characters have remained dull in analyses and quotations. The simple answer is: Julius Caesar is a story of the sword and the crown, and in this heroic narrative, the soft voices of women are hardly heard. But this dullness is not Shakespeare's choice, but ours. We, the readers and viewers, are often attracted to the greater drama and forget that Shakespeare, beneath the main layers, has also woven smaller but deeper stories.

Calpurnia and Portia are not classic heroes. They do not have eloquent speeches, nor do they take up the sword. But their power lies in this simplicity. In the dreams that reveal the truth, in the wounds that cry out loyalty. Shakespeare, with these characters, tells us that sometimes the greatest courage is not on the battlefield, but in the struggle to be heard.

● What do we read today?

If we read Julius Caesar today, Calpurnia and Portia find more meaning than ever. In a world where many voices are still lost in the shadow of power, these women remind us that listening to the peripheries is sometimes more important than watching the center. Calpurnia could have saved Caesar, Portia could have saved Brutus from moral decline, but neither of them was heard. This failure is not theirs, but ours.

In the tragic play Julius Caesar, the role of women—Calpurnia (Caesar's wife) and Portia (Brutus's wife)—is limited in terms of quantitative presence in the scenes, but is of great importance in terms of quality. But how?

● Importance and influence in the progression of the tragedy

Human dimension and conflict in the characters: Women in this play act as the voices of reason, conscience, and emotions that are in conflict with the male world of politics, power, and violence. This conflict transforms the tragedy from a merely political narrative to a deeply human drama.

Prophecy and fate: Calpurnia and her prophecies refer to the theme of fate and human inability to escape it, which is one of the main pillars of tragedy.

Influence on the main characters: Both women have an effect on the decision-making and psychological states of Caesar and Brutus, even if this effect is ultimately ignored or leads to failure.

○ Could their roles be removed from the play?

From a structural point of view, yes, the play could be rewritten without the direct presence of these characters, because the main line of the story (the conspiracy against Caesar, his assassination, and its consequences) is dependent on the male characters. But removing them will have the following effects:

° Decrease in emotional depth: Without Calpurnia and Portia, the personal and vulnerable aspects of Caesar and Brutus are less prominent and the tragedy is reduced to a mere political event.

° Weakening of the tragic themes: The themes of fate, pride, and inner corruption, without the presence of these women who act as a mirror to reflect the weaknesses of the heroes, become duller.

° Loss of symbolic gender balance: The presence of women, although limited, creates a symbolic balance against the male world of Rome, and removing them disrupts this balance.

Shakespeare, by including these characters, even in peripheral roles, shows that tragedy has its roots not only in the battlefield or the Senate, but also in human relationships and the inner self.

At the end of this journey to the heart of the tragedy of Julius Caesar, Calpurnia and Portia are not only the lost voices of ancient Rome, but also beacons for us today. They teach us that even in the dark shadows of power, the courage to listen and cry out the truth can change the world. So let's open our ears to the silent voices and, inspired by these forgotten women, commit ourselves to listening and being heard; perhaps this time, the tragedy will turn into hope.

This is the second play of Shakespeare that I am collaborating with Amirhossein. The previous play was Macbeth, and both collaborations have been extremely rich, educational, creative, and engaging experiences. I truly hope that Amirhossein is as eager as I am for the next Shakespeare play :))

Like the previous collaboration, we started the play with the Persian translation. This time, we read the translation. Then we read the new _Fear_ Shakespeare. I watched the cinematic quote "Caesar Must Die" 2012 and was impressed by it (thanks to Masoud for the recommendation), and as always, and as I do for all the important books I read, I read hundreds of thousands of articles, research, texts, reviews, and notes until I achieved a complete understanding of the work. At the end, I also picked out 3 of the famous (legendary) myths about Shakespeare from the book 30 Great Myths About Shakespeare, which I will write below (I will write the individual myths and Amirhossein will write their pairs); for example, part of the program is like this :)

In summary, I'm grateful that you're reading the review. I hope that if you haven't read the Tragedy of Caesar yet, it will encourage you to pick it up sooner.

...........

30 Great Myths About Shakespeare

Written by Laurie Maguire and Emma Smith

Myth number 5: "Shakespeare never traveled"

This belief that William Shakespeare never traveled further from his birthplace or London is a commonly raised topic, but there is little conclusive evidence to prove or disprove it. The book points out that Shakespeare, contrary to the assumption of some, did not need long and distant travels to create works with deep geographical and cultural content. Plays such as The Merchant of Venice (with the description of Venice) or Othello (with the mention of Cyprus) show his awareness of distant places, but this knowledge was most likely obtained from reading books, conversations with travelers, and written sources such as travelogues or Latin translations. Shakespeare, in London, which was the center of trade and cultural exchange at that time, had enough opportunity to hear stories from all over the world. It should be known that Shakespeare's not traveling was not only not a weakness, but also a sign of his power of imagination and his skill in using available resources. However, there is no document indicating his travel outside of England, and this myth may be true to some extent.

Myth number 7: "Shakespeare was Catholic"

This myth stems from speculations about Shakespeare's religion, especially considering the religious turmoil in England during the Elizabethan era when Protestantism was dominant and