Third reading: D.W. Buffa on Caesar’s Ghost

D.W. Buffa's newest novel to be released is Evangeline, a courtroom drama about the murder trial of captain who is one of the few to survive the sinking of his ship.

Buffa is also the author of ten legal thrillers involving the defense attorney Joseph Antonelli. He has also published a series that attempts to trace the movement of western thought from ancient Athens, in Helen; the end of the Roman Empire, in Julian's Laughter; the Renaissance, in The Autobiography of Niccolo Machiavelli; and America in the twentieth century, in Neumann's Last Concert.

Buffa's latest take in his "Third Reading" series is on Caesar’s Ghost. It begins:

It was always dangerous, for those who lived in a monarchy hundreds of years ago, to write that killing the king was the only way to win liberty for their country. The only safe way to write about the virtue of murder, when murder was the only way to replace the rule of one with the rule of all, was to write about a political assassination that had taken place in the past, the distant past, the ancient story of someone murdered because he wanted to be king, the story William Shakespeare told in his play called Julius Caesar, the play that all the loyal subjects of Queen Elizabeth could applaud.

The question, once Shakespeare decided to write a play about why Brutus and Cassius and the others thought Caesar’s ambition, if left unchecked, would be the end of the Roman republic, was how to do it in a way that would make an audience feel an interest in things that had happened more than sixteen hundred years earlier. How teach an audience to understand the strange names, the changing relationships, the different agreements and conspiracies that made the murder of Julius Caesar and the civil war that resulted one of the most important turning points in history? Writing a century and a half after Shakespeare’s death, Samuel Johnson, who understood Shakespeare perhaps better than anyone, thought he knew how it had been done. Shakespeare’s people, which is how he described the characters of Shakespeare’s invention, “act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole system of life is continued in motion. In the writings of other poets a character is too often an individual; in those of Shakespeare it is commonly a species.”

The characters - their feelings, their motives, their vanities and ambitions - are known to us because we have observed them, and experienced them, ourselves. Shakespeare understands that. But what about...[read on]

Visit D.W. Buffa's website.

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--Marshal Zeringue