Shakespeare’s Titus Andronicus demonstrates how aggressive challenges and divisions are born out of conflicting belief systems. For example, because the Roman citizens, the Goths, and Aaron the Moor all differ in matters of consciousness, tension ensues. Nicholas Moschovakis comments extensively about these clashes in his essay ““Irreligious Piety” and Christian History: Persecution as Pagan Anachronism in Titus Andronicus,” and Moschovakis not only magnifies persecution, but he remarks extensively about the major elements in Titus Andronicus that can be understood as anachronistic. While Moschovakis carefully and thoroughly observes the Shakespearean realms of violent “human sacrifice,” the “relevance of Judeo-Christian sacrificial discourses,” …show more content…
Because Shakespeare included a wide range of conflict and overlapping belief systems, assertions tend to become, as Moschovakis puts it, “curiously inconsistent” and “overshadowed” (Moschovakis 462). What can be claimed as transparent in Titus Andronicus, and what I think is appealing to the masses, is that Shakespeare drew upon the major controversial motifs in human history and religion, and he included the evils of hypocrisy which allow for realistic interest regardless of what your religious or political stance is. Moreover, I would argue that Shakespeare exposes a more obvious anachronistic element that can serve in expanding Moschovakis’ arguments. Titus Andronicus demonstrates the time honored obsession over first born sons, and because the play includes a first born son in each family that is introduced, I think the claim deserves consideration. The pedestal and heir ship afforded to a first born male is a common thread which all societies, religious, pagan, or simply pious have in …show more content…
Strangely, regardless of the fact that Aaron immediately returns to behaving diabolically, it is noteworthy that out of all the parents in Titus Andronicus, Shakespeare portrays Aaron as the parent who sacrifices all for his child. Tamora believed herself to be wholly degraded after begging for Alarbus’ life, and she made no further sacrifices for her children. To Titus’ credit, he chopped off his hand in an effort to save two of his sons, but Aaron gave his life for the benefit of his child.
Shakespeare skillfully salvages the noble family line, and the remaining Andronicus family members, mainly Lucius and his son, will continue as imperialists. Plainly, although Titus lost many sons in the war with the Goths, he did not despair over his losses. The murder of Mutius indicates that he was not as equally cherished as his older brother, Lucius. Although Titus called Lucius a traitor, Lucius was never in danger of being killed by his father. Lucius, as the oldest, appears to be in a position of immunity while Mutius, and his brothers who were killed in battle, were expendable. It is of no consequence that so many bodies were laid to rest because, most importantly, the eldest son survives and the family name is able to continue. Titus instills loyalty in Lucius and, in turn, Lucius honors his father. Lucius is blessed, and he and his son are unscathed. Lucius is made emperor, and the cycle of royalty follows
The audience never witnesses Aaron's supposed teachings however, nor is it likely that if he were to continue living as before that he would commit the acts he pledges himself to as he is to be hanged (Act V Scene I Lines 125-144). Aaron talks of evil and trickery, while Tamora lives its epitome, marrying herself into the queen-ship of the conquering tribe. When presented with his child Aaron does care for it, and only agrees to speak upon the condition that it shall be saved. This insight into his character makes him seem almost a worthier person than Titus who murders his own sons. The villain shows more care for his kin than the hero does for his. This serves to make Aaron a more realistic villain by making him more human.
...haracters to compliment Shakespeare’s work. With the opening she captures the aspect of war without using the original opening. Instead she uses a child and modernizes it. In ACT III SCENE I. Rome. A Street, she examines every word and portrays the art of revenge, loss and justice. She digs into the bible and relates them to Titus and his morals and actions. Taymor made many interesting choices when directing Titus, many staying true to the book, and character analysis bringing Titus Andronicus to a visual art.
Pinciss, Gerald M.. Forbidden matter: Religion in the Drama of Shakespeare and his Contemporaries. Newark: University of Delaware Press , 2000. Print.
Shakespeare’s plays, among other classic works of literature, tend to be forged with the tension of human emotion. The archetypical parallel of love and hatred polarizes characters and emphasizes the stark details of the plot. More specifically, the compelling force of revenge is behind most of the motives of Shakespeare’s tragedy Hamlet. The play opens with the return of Hamlet’s father, a surprising encounter, which ended in his son learning that his father’s death was the result of foul play. By emphasizing this scene as the beginning of the story to be told, Shakespeare clearly implies that the plot itself will be based around the theme of revenge. Through three different instances of behavior fueled entirely by vengeance, Shakespeare creates an image in the reader’s mind, which foreshadows the future of the story and provides insight into the plot line. Even so, despite the theme of revenge being the overarching concern of the plot, the parallels drawn between characters truly strengthen the thematic depth of the piece overall, making the play easily one of Shakespeare’s most infamous and historically valuable works.
Ferguson, Francis. “Two Worldviews Echo Each Other.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare: The Pattern in His Carpet. N.p.: n.p., 1970.
middle of paper ... ..., suggests that Shakespeare’s exploration of the theme of love is to bring us closer to the nature of the reconciliation harmony which it embodies. This is because everyone is peacefully engaging with each other and enjoying the play, since the conflict has been resolved. Not only this, but different social classes emerge together. This is paralleled with, the relationship between Titaina and Oberon. Shakespeare explores the theme of love by the tensions built up to create comic resolutions, therefore helping to diffuse possibly unpleasant impact of themes.
...that Shakespeare's Hamlet, so far as it is Shakespeare's, is a play dealing with the effect of a mother's guilt upon her son, and that Shakespeare was unable to impose this motive successfully upon the "intractable" material of the old play.(Elliot)
Shakespeare’s “Hamlet” is a story about revenge, murder, and insanity, which leads to the untimely deaths of many characters within the play. As Hamlet seeks revenge from the murderer of his father, the story unravels into a wave of conflict and play on of words; all the while getting ever closer to the truth behind Hamlets fathers death. Hamlet a son of a murdered father strays from his obligations though, and causes more trouble than what its worth to the ones he loves, just to keep his mind at ease; this leads to the rebirth of old characters and how they see him, some being left in sorrow and hatred over his impetuous actions. It’s a really remarkable play, and to see all these sons seeking revenge for there fathers really speaks about the human tendency to overlook key things; if you are the cause of such hatred what hate can be created because of that, this is what ultimately Shakespeare is trying to show us through “Hamlet” and to show it in such a way is a perfect example of this.
Al Pacino and William Shakespeare both utilized their texts to illustrate cultural agendas and present varying interpretations of the same story. The analysis of this pair of texts served to heighten our understanding of the values and contexts of the texts and the commonalities between them. Whereas Shakespeare’s audience placed great significant value on religion and divine retribution, Pacino’s audience have independence placed on the individual rather than God. Finally, the contextual comparison of the texts furthers our understanding of the values portrayed in two different zeitgeists.
The issue of fatherhood is extremely relevant both in the play Oedipus Rex and the play Fences by August Wilson. Oedipus struggles with realizing who his father is and whether he will ever be there for him. He doesn’t know his father so doesn’t have a normal father son relationship. Troy seems to be in his children’s life but very minimally. The importance of having a father for a son deeply effects whether that son will be successful, happy, and responsible in their life.
Shakespeare, William. "Titus Andronicus" The Norton Shakespeare. Ed. Stanley Wells & |Gary Taylor. New York/London, W.W. Norton Company,1997. 371-434
Sin was a present characteristic in not just moral dramas but also in Shakespeare plays. In almost every play that Shakespeare wrote during his career the audience could always learn something from the character’s story. In this chapter Tillyard focuses on the fall and redemption of man. Tillyard stated that the fall of man separated us from our true s...
Milward, Peter. "Chapter 1: Meta-Drama in Hamlet and Macbeth." Shakespeare's Christianity: The Protestant and Catholic Poetics of Julius Caesar, Macbeth, and Hamlet. Ed. Beatrice Batsona. Waco, TX: Baylor UP, 2006. 1-18. Questia. Web. 10 Dec. 2013.
The puzzling tragedy that is Hamlet will forever be speculated, which is why it has attracted such attention and praise. The madness in which Hamlet lives draws decisions of polarizing weight. Stay righteous and live out your life with your father’s killer? Or do you slay him and suffer before god and the law? It bears moments of wisdom, followed by inexplicable actions and Vis versa. One moment you find the protagonist staring at his girlfriend with his pants at his ankles, the next you find him contemplating the value of life. It’s hard to determine what the message behind the wildcard character that Hamlet is. William Shakespeare’s tragedy “Hamlet” unravels opposing subjects, superstition instead of righteousness, private revenge or public revenge; it portrays the contradictions emerging in the religious revival of the Renaissance as “Christian humanism” was taking form in Western Europe. An aspect of the play reveals and mocks the hypocrisy of the kingdoms as they exert authority and pose as the ideal of religion. The king is a murderer who prays to god without belief. The one who attempts to remain righteous is an outcast amongst his kingdom. The biggest speculation is drawn on the rectitude of revenge. Does Hamlet have the right to kill his uncle? If so, does Laertes then have the right to kill Hamlet? Is Fortinbras the only exception of just revenge when he is motivated by honor, while the others rage over personal revenge? In the wake of these quarrels, the most evident and obvious Christian Humanist belief is held true...evil never wins. The punishment of those who died in Hamlet is virtuous and deserving. Those who stooped to treachery suffered the consequence.
Anti-Semitism and the desecration of the Jewish population have been in existence for nearly five thousand years. In the Elizabethan era, a question of anti-Semitism invariably arises. In William Shakespeare's The Merchant of Venice, we find that one of the characters is the embodiment and expression of anti-Semitic attitude that is pervasive in Elizabethan society. "Anti-Semitism was an intricate part in Shakespeare's years. Jews were considered vile and scorned upon. Shakespeare presents Judaism as an 'unchangeable trait'" (Bloom 37). Shakespeare's age based their anti-Semitism on religious grounds because the Elizabethans inherited the fiction, fabricated by the early Church, that the Jews murdered Christ and were therefore in league with the devil and were actively working to subvert spread of Christianity. The religious grounds of this anti-Semitism means that if a Jew converted to Christianity, as Shylock is forced to do in The Merchant of Venice, then all will be forgiven as the repentant Jew is embraced by the arms of the all merciful Christian God of love. In fact, some Christian believed--as do some fundamentalist sects today--that the coming of the Kingdom of God was aided by converting the Jews to Christianity. Anti-Semitism in Shakespeare's time is portrayed in his masterpiece The Merchant of Venice.