From his first appearance, Caesar openly displays a superstitious nature, but also from the beginning he displays a propensity to ignore warnings and signs that should alert a man of his beliefs. He enters the action of the play by advising Calphurnia to seek a cure for her sterility by ritual, and he exits fifteen lines later, dismissing the soothsayer as "a dreamer." He ignores the soothsayer, Calphurnia, the many portents, his priests, and finally Artemidorus because he has ceased to think of himself as a fallible human being, and because he passionately wants to be crowned king. He does not fear Cassius, although he knows him to be a danger to political leaders, because he believes that he and Cassius occupy two separate levels of existence. Cassius is a man; Caesar, a demigod. He even comes to think of himself in terms of abstract qualities, considering himself older and more terrible even than "danger." His sense of superiority to his fellow humans, as well as his overriding ambition to be king, ultimately prevent him from observing and reasoning clearly.
Caesar as a viable character in the play endures beyond his assassination. Brutus wants to "come by Caesar's spirit / And not dismember Caesar." In fact, Brutus and the conspirators succeed in dismembering the corporeal Caesar, but they fail to destroy his spirit. Antony invokes the spirit of Caesar first in his soliloquy in Act III, Scene 1, and he uses it to bring the citizens of Rome to rebellion in Act III, Scene 2. The ghost of Caesar appears to Brutus at Sardis and again at Philippi, signifying that Brutus has failed to reconcile mentally and morally his participation in the murder, as well as signifying that his and Cassius' fortunes are fading. Caesar's spirit ceases to be a force in the play only when Cassius and Brutus commit suicide, each acknowledging that he does so to still the spirit of Caesar.
