will strip the beloved of his beauty and by saying that implies that time will take his beloved from him. Eventually, time will consume everyone in death, and, whether one chooses to recognize it or not, he will not have any control over exactly when that consumption will take place. This theme translates to Julius Caesar as well. Caesar is unfazed by the soothsayer's proclamation in act one, and even though Calpurnia seems for a time to have succeeded in keeping Caesar home on the day of his eventual murder, he goes to Senate anyway. Caesar walks into his own death, much less literally than Brutus, who does actually walk into the sword that kills him. But in these deaths in the context of the play serve to elucidate the truth that death (or 'Time', as the sonnet refers to it) will consume you regardless of your ambitions or future plans; it does not take you into consideration. Obviously, Caesar would not have gone to Senate if he knew he would be stabbed upon entering, just as Brutus and Cassius would not have engaged in a full-blown war if they knew they would be dead before it was over. It is coincidental enough that the speaker suggests that the only way to immortalize his beloved as he is, is through his writing. And the way that Caesar and the others are kept alive is through writing, through history, and in some senses through Shakespeare himself. It is rather universally accepted that a body of Shakespeare's sonnets, including 65, are addressed to a young man whose beauty the poems make known. The young man is like Caesar, then, in that Shakespeare recognizes the presence of feminine qualities in a man. But the common theme is more than recognition, it is an acknowledgment of tension created by that recognition. Especially by Cassius, Caesar is made out to be rather feminine, as is the young man in descriptions of his beauty. In that the speaker does not directly refer to the addressee of the sonnets as a man, and in that Brutus and the others find discomfort in Caesar's ruling ability because of his appeared weaknesses, shows that Shakespeare recognizes an anxiety about men with feminine qualities, or women with masculine qualities, like Queen Elizabeth, of whom Caesar may or may not be representative. Interpretations Jonathan Pryce, for the 2002 compilation album, When