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다국어 초록 (Multilingual Abstract)

In Julius Caesar, against our expectation, Caesar seems to be a titular hero, disappearing in the middle of the action of the play. If the other characters did not mention his name so often, his appearance on stage would be felt much shorter. Moreover, his death does not complete the play; rather it is the cause of all that happens after it. But he does not disappear, say, like Duncan who is completely forgotten after his death. The Roman people cry "Let him be Caesar" even when one of his killers, Brutus, explains why he had to get rid of him. For them Brutus is another Caesar. Caesar always already lives in other characters.
In fact, everybody in the play can be called another Caesar in that they do just as Caesar did to get what they want. In the Lupercal which first introduces to the audience the birth of Caesarism, Caesar refuses the coronet Antony presents because he perceives that the people don't want him to be king. His refusal, however, does not mean that he gives up becoming king. Rather it means that he strategically chooses to show himself a man determined not to become a king against the wish of his people, a pose that he is a being who puts public good above anything else. Behind this pose lurks his ambition that even if he actually cannot be a king in the Republican Rome, he will remain a symbolic being which is above all kings, a demi-god. Consequently, while Caesar makes all kings think it honoured to be called Caesar though he himself could not actually become a king by his death, he remains subject to his pose. This is not just Caesar's way; it is like a structure permeated in the ways the other characters, including the mob, adopt for different purposes, whether they be ones to support or overthrow Caesar. All the other characters are another Caesar in that sense; they are the agents of Caesarism which once made Caesar say "I am always Caesar."