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32 pages 1 hour read

Albert Camus

Caligula

Fiction | Play | Adult | Published in 1944

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Act IIAct Summaries & Analyses

Act II Summary

Act II begins three years after the events of Act I. The setting is now a room in Cherea’s house. A group of patricians are discussing Caligula’s recent actions, which include the confiscation of property, the execution of some of their family members, and the forceful enrollment of their wives into the public brothels. They are about to rush out to assassinate Caligula when Cherea walks in. He talks them down from carrying out their plan immediately, arguing that they’re doing it as vengeance.

Cherea says that Caligula’s philosophy is logical, but intolerable because it drains life of all meaning. He counsels them to wait for the appropriate time, expecting that Caligula’s actions will greatly affect his mental health, when he will be vulnerable. The patricians eventually agree, conceding that if they attack Caligula now, the masses will rise up against them.

While this discussion is going on, Caligula and his entourage arrive at Cherea’s house and enter. Caligula does not address the patricians but looks each one of them over carefully. Then he walks out again. Returning a few moments later, Caligula has them gather around a table to eat. He makes a show of terrible table manners, then proceeds to torment the patricians with cruel conversation. He begins with Lepidus, whose son he had recently executed. When he asks Lepidus whether his son’s death is the reason for his grumpiness, Lepidus replies with politeness motivated by fear: “Quite the contrary” (25). Caligula latches onto this answer and exercises his cruel logic by forcing Lepidus to demonstrate how cheerful he is at hearing the story of his son’s murder. Next, Caligula torments a patrician named Mucius by taking Mucius’s wife into the adjoining room to rape her, while the aggrieved husband and others are forced to listen. Upon his return to the room, Caligula puts out two new decrees: first, that he has scheduled a national famine to begin on the following day, brought on by his order to close the public granaries; and second, that he is instituting a new system to increase revenues at the public brothels by exiling or killing any citizen who doesn’t make use of them often enough. His final act of torment is to force another patrician, Mereia, to drink poison in front of everyone simply because Caligula is suspicious of his motives.

Act II closes with a set of scenes centered on Scipio, whose father was among those executed by Caligula. At first, Scipio is full of hatred and determined to seek revenge, although Caesonia tries to dissuade him. Caligula soothes Scipio by pretending to admire his poetry. Scipio’s anger crumbles, and his tenderness toward Caligula returns: “All I know is that everything I feel or think turns to love!” (36). Caligula cannot keep up the charade; he reveals that his affection was nothing more than a ruse, that he lives for scorn alone.

Act II Analysis

Act II serves two main functions in developing the plot. First, it introduces the possibility of an assassination; and second, it illustrates the depravity of Caligula’s logic and the shocking lengths to which he will go to carry it out.

Camus suggests the idea of assassination but does not fully develop it until the play’s final scene. Meanwhile, the tension of a possible assassination permeates the action. Caligula appears to expect his assassination and even considers it inevitable, but the possibility does not temper his actions. Since he sees his destiny as unavoidable, it drives him to further cruelties. His actions in Act II show just how determined he is to break every bond of social order, often in the most gruesome possible way. He feels no shame, appearing to delight in enforcing his logic on those around him.

Act II focuses on Cherea and Scipio. Although Cherea agrees with the patricians about the danger Caligula poses, he reveals that he holds a different perspective. While the others are beginning to perceive Caligula as an absurdist tyrant, Cherea understands him in a nuanced way—not as erratic, but as someone whose absurdist vision has cut through the safe and comfortable self-deceptions of human society.

We also get a deeper look into Scipio. Scipio is depicted as having a sensitive, artistic soul, and Caligula appeals to this sensitivity to melt the hostility between them. The reader sees Scipio’s tendency for wanting to see the best in those around him, even in someone like Caligula. As the emperor himself notes of Scipio, “You are single-minded for good” (36).

Two of the plays philosophical themes are important in Act II. Cherea articulates the danger of Caligula’s logic. He notes that the emperor’s philosophy is the source of true danger, not his violent whims. As such, Camus shows that Cherea is a character with deeper perception than the patricians. Cherea realizes that Caligula’s belief system “would mean the end of everything” (21). It empties life of all meaning, and thus makes life intolerable.

Camus also explores death in Act II. He portrays it not as an abstract idea, but as the very real consequence for those around Caligula. Caligula has weaponized death for pointing out the absurdity of life.

Act II introduces the motif of performance. As Caligula interacts with those around him, he makes frequent use of pantomimes. Sometimes he uses these as a way of making his own behavior seem absurd and unpredictable—as when he silently looks over each member in the room. Sometimes he forces others to perform for him, as when he commands them to stand up and laugh at his story about murdering Lepidus’s son. For Caligula, performance is meant to reinforce the idea that everything about the way people live their lives is an act, and that he is merely revealing the absurdity behind it all.

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