In the prologue, the God Ra soliloquizes, breaking the fourth wall (the imaginary barrier between the actors on stage and the audience) by addressing the audience directly:
Look upon my hawk's head; and know that I am Ra, who was once in Egypt a mighty god. Ye cannot kneel nor prostrate yourselves; for ye are packed in rows without freedom to move, obstructing one another's vision; neither do any of ye regard it as seemly to do aught until ye see all the rest do so too; wherefore it commonly happens that in great emergencies ye do nothing, though each telleth his fellow that something must be done.
This is not the typical soliloquy—indeed, Shaw avoids the kind of introspective soliloquy common in Shakespearean drama, wherein important characters externalize their thoughts to the audience without breaking the fourth wall. Instead of reflecting on his own thoughts and emotions, Ra treats the audience as a character of sorts, explaining their actions, behaviors, and emotions to them directly. Crucially, by having Ra address the audience directly, Shaw denies them the ability to watch as voyeurs. Denying audience members this voyeuristic indulgence at the outset is necessary for Shaw's satire to be read correctly as the play continues. Ra not only addresses the audience directly but critiques it, prompting those watching to reflect and introspect before the real action of the play begins.
At the beginning of Act 1, Caesar—believing he is alone—addresses his soliloquy to the Sphinx, observing that he has roamed far and wide but has yet to find a home:
I have wandered many lands, seeking the lost regions from which my birth into this world exiled me, and the company of creatures such as myself. I have found flocks and pastures, men and cities, but no other Caesar, no air native to me, no man kindred to me, none who can do my day's deed, and think my night's thought.
Caesar then asserts that he has finally found a kindred spirit in the Sphinx, who looks "out of the world" and into the "lost region." This opening soliloquy positions Caesar as the vessel through which much of Shaw's satire will flow. He is—or, at least, believes he is—a far removed observer of humanity's weaknesses. Caesar is a highly philosophical character, often taking the time to reflect on morally tricky situations as they arise throughout the play. Though Shaw is not uncritical of Caesar and his attitudes toward empire, Caesar's philosophizing is closest to Shaw's own satirical tone, leading to the impression throughout the play that his is the voice of reason.
