History Extra Podcast Episode Summary
Episode Title: How Julius Caesar's Funeral Drama Fuelled the Mob
Date: October 9, 2025
Host: Immediate Media
Guest: Dr. Jessica Clarke (Shortland Jones Rome Scholar, Expert in Ancient Roman Theatre)
Interviewer: Emily Briffitt
Overview
This episode explores the extraordinary political theatre and street drama that unfolded at Julius Caesar’s funeral in 44 BC. With Dr. Jessica Clarke as guest, the podcast investigates how Mark Antony transformed the funeral into a potent spectacle that manipulated public sentiment, incited mass violence, and shaped the fate of Rome. Dr. Clarke highlights the unique intersections between Roman funerary tradition, public performance, and political propaganda in the late Republic.
1. Context: The Assassination and Aftermath
- Assassination Background ([02:22])
- Caesar, after announcing himself as dictator for life in January 44 BC, is assassinated by senators by March 44.
- The murder was highly theatrical—even mythic—recounted in detail by ancient sources (Suetonius, Plutarch, Nicholas of Damascus).
- Quote:
“He utters the famous words, 'And you, my child,' talking to Brutus, who was his kind of protege, and he dies in the Senate House...”
—Jessica Clarke, [04:41]
- Immediate Aftermath ([05:48])
- Gladiatorial shows happen simultaneously next door; panic ensues among crowds as rumors spread.
- “There’s absolute disorder and chaos as everyone's kind of not sure what to do… Who's done it? Who's responsible?”
—Jessica Clarke, [06:10]
2. Mark Antony’s Strategy: Political Theatre Instead of Immediate Vengeance
- Antony’s Calculated Approach ([06:51])
- Despite public fury, Antony does not immediately pursue violent retribution. He recognizes mixed allegiances in Rome and opts for political maneuvering.
- “He needs to get the crowd on side. And he does that with the way he constructs this public event, with the theatre shows and then also the eulogy that he delivers.”
—Jessica Clarke, [07:32]
3. What Was a Roman Funeral?
- Funerary Traditions ([08:12])
- Roman aristocratic funerals involved public spectacle: eulogies, performances, processions with death masks, and displays of family legacy.
- Theatre and even gladiatorial games as part of the ceremony were traditional, dating back to 264 BC.
- Emphasis on public display and family prestige, not just religious rites.
4. Theatre as Political Weapon
- Propaganda and Entertainment ([10:28])
- Theatre in Rome was inherently political—performances could only be organized by politicians, turning them into platforms for messaging.
- Quote:
“All theatre shows are put on by politicians. In ancient Rome, you can't put on a show independently, therefore automatically we're talking about a political genre...”
—Jessica Clarke, [10:41]
5. The Structure and Staging of Caesar’s Funeral
- Similarities and Differences to Standard Funerals ([11:50])
- Caesar’s funeral followed traditional structure—morning performances, eulogy, then procession—yet its scale and public impact set it apart.
- Choice of Plays ([13:26])
- Two Greek tragedies staged:
- The Contest for the Arms of Achilles: Themes of a fallen hero, struggle over legacy, betrayal among comrades.
- Electra: Focuses on the wrongful murder of a father-king and the justification for revenge.
- “We can't think of the plays as being neutral… Every other aspect was very carefully considered, so we should also think of these theatre shows as being thought through.”
—Jessica Clarke, [13:36]
- Two Greek tragedies staged:
6. Intended Messages and Public Reaction
- Political Messaging ([16:58])
- Plays subtly presented Caesar as a wrongfully murdered king and painted the conspirators as envious traitors.
- The implication: Rome’s legacy must be defended by avenging Caesar, giving Antony’s position powerful legitimacy.
- Atmosphere and Crowd Dynamics ([18:10])
- Funeral felt more like a political rally or protest than a solemn event—public emotion was a tool being stoked and shaped.
- Quote:
“You are at a political event rather than you're sat in a theater seat watching a show… it's going to have an impact.”
—Jessica Clarke, [18:23]
- Spectacle Details ([19:03])
- Likely held in Pompey’s Theatre, Rome’s first permanent stone theatre.
- Large, elaborately staged productions; use of masks, costumes, dramatic devices to intensify spectacle.
7. Antony’s Eulogy: Masterclass in Manipulation
- Structure and Impact ([21:02])
- Antony refrained from open accusations. Instead, he read a Senate decree (swearing to protect Caesar), then dramatically displayed Caesar’s bloodied toga.
- This triggered mass hysteria and anger far beyond what words alone could achieve.
- Quote:
“He displays... the bloodied toga of Caesar... and he displays it before the crowd. This is really the thing that sparks the emotional frenzy.”
—Jessica Clarke, [21:32] - Antony’s restraint allowed the crowd to ‘put two and two together’ and draw their own conclusions (while he remained ostensibly neutral).
8. The Mob Takes Control
- Riot and Chaos ([22:29])
- The crowd, overcome by emotion, hijacks the funeral, constructing a makeshift pyre and burning Caesar’s body in the Forum.
- Women throw jewelry into the flames; the atmosphere turns wild and uncontrollable.
- Quote:
“They start smashing up the seating, the benches, anything they can find, and they make a makeshift funeral pyre and set it alight.”
—Jessica Clarke, [22:47]
9. Aftermath for the Conspirators
- Violent Reprisals ([23:24])
- The mob turns on perceived and actual assassins; some senators are killed in the streets (e.g., mistaken identity leading to Cinna’s death).
- Brutus and Cassius barricade themselves, eventually flee Rome, and are hunted down over subsequent years, culminating in their defeat at Philippi (42 BC).
- Quote:
“But if we're talking about the impact of this event, we get to a point... where politicians are being murdered in the streets and...the conspiracies are in very serious physical danger, ultimately.”
—Jessica Clarke, [24:22]
10. The Historical Legacy of Funeral Theatre
- Assessment of Antony’s Triumph ([25:58])
- Theatre and spectacle are revealed as central tools of Roman politics, not peripheral amusements.
- Antony’s stagecraft doesn't win the civil war single-handedly, but it decisively shifts popular sentiment, sets Rome on a radical new course, and positions him for future power struggles.
- Quote:
“But the theater and the theatrics are an absolutely crucial part of it, and they really shape the outcome of this event. They shape what happens at Julius Caesar's funeral. And so ultimately they shape Roman history.”
—Jessica Clarke, [26:47]
Key Quotes & Memorable Moments
-
Theatricality of Politics:
“Theatre exists across the whole Italian peninsula at this period. We want to be thinking about a political institution as much as it is entertainment.”
—Jessica Clarke, [10:28] -
On Manipulation:
“He kind of keeps his hands clean, almost. Even though he absolutely isn't. He's orchestrating this entire event at this point.”
—Jessica Clarke, [22:18]
Notable Timestamps
- [02:22] Jessica Clarke recounts the dramatic assassination of Caesar
- [06:51] Discussion of Antony’s careful political response
- [13:26] Selection and analysis of the funeral plays
- [18:10] What it felt like in the crowd at the funeral
- [21:02] Antony’s famous eulogy and the use of Caesar’s toga
- [22:29] The crowd’s riot and impromptu funeral pyre
- [23:29] Fate of the conspirators and the ensuing civil war
- [25:58] Reflection on the historical impact of theatrical politics
Closing
Dr. Jessica Clarke’s insights underscore how Caesar’s funeral became the most consequential piece of ancient political theatre—where grief, propaganda, and the collective roar of the Roman mob transformed the fate of the Republic. The episode concludes by emphasizing that in Rome, mastering the stage was often the key to mastering power itself.
Guest’s Upcoming Book:
Jessica Clarke is the author of A New History of Ancient Roman Theatre (due late 2025).