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Literary analysis about titus andronicus
Fusing figurative language in drama
Literary analysis about titus andronicus
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Authors tend to write plays in order to express themselves and convey messages to a broad audience. In the play “Titus Andronicus” written by William Shakespeare and edited by Russ McDonald, there is a lot of emphasis and importance on the decapitation of hands. Hand gestures are a way of communication and in some form they are a universal symbol of obtaining power. Shakespeare uses diction, imagery, and symbolism when describing the hands of the characters and this is important because a handful of the characters in the play have their hands cut away from them implying they have essentially lost their power that they originally attained. The play “Titus Andronicus” has multiple genres. Some believe that it is a tragedy and ‘the one who holds …show more content…
In Act 3, Aaron is considered to be a very intelligent villain and enters with a message for Titus. The message was that if Titus were to cut off one of his own hands, his sons Quintus and Martius will be released by the Emperor. The messenger enters the scene with two heads and a hand. The Messenger states, “Worthy Andronicus, ill art thou repaid For that good hand thou sent’st the emperor. Here are the heads of thy two noble sons, And here’s thy hand, in scorn to thee sent back, Thy grief their sports, thy resolution mocked, That woe is me to think upon thy woes More than remembrance of my father’s death.” (Shakespeare 55.) Marcus and Lucius argue that they should be the one to sacrifice their hands, but while Titus sends them off he gets Aaron to cut off his hand hence the quote "Lend me thy hand, and I will give you mine.” (Shakespeare 53). The message turns out to be a trick. After Titus loses his hand he receives the severed heads of his two sons Quintus and Martius. Titus is now devastated and completely overwhelmed from what he has seen. Aaron is now considered to be an evil genius and Titus is left handless and …show more content…
When Lavinia involuntarily had her hands cut away from her, she lost a lot of her feminine features. She eventually had her hands replaced with tree branches. This is symbolic because her hands were replaced with something that is organic yet artificial. It was something that was alive but is now dead since the branches are no longer attached to the tree just as her hands are no longer attached to her arms. Because she was raped and had her tongue cut out, Lavinia’s power to communicate is taken away. She does not have her tongue to speak nor does she have her hands for motion essentially ruining here. Dehumanized from the rape and rendered voiceless, Lavinia is further dehumanized as she has no way to vocally express and protect herself. This makes it easy to take advantage of her now and others act on her more after this situation. This whole scene shows us how Lavinia has become disempowered but Chiron and Demetrius, the two men who had raped her, have gained
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,” the anti-papist Elizabethan attitudes, and other religious and pagan traditions, Moschovakis plainly admits that “Titus evades all attempts to be read as partisan invective” (Moschovakis 462). 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 t...
At first glance, these categories appear entirely incompatible, unable to exist together. However, in Julie Taymor's adaptation of Shakespeare's Titus Andronicus, we find that they are compatible after all. With elaborate sets, stunning costumes, and a remarkable film score, Taymor blurs the boundaries that divide them and creates a world that accommodates both ancient Rome and modern America.
Shakespeare's first tragedy has been a topic of discussion since the day it was written. Titus Andronicus "was staged on 24 January 1594 by the Earl of Sussex's Men at the Rose Theatre" (Welsh 1). Though this tidbit of information seems somewhat irrelevant to Titus, we must note that there are certain standards and practices established by a play from its first performance. It is also important to establish the general attributes that audiences attribute to Shakespearean performance.
Mark Antony’s speech, whose aim is to counter Brutus’ speech, enlightens the crowd on the unjust murder of Caesar. Though he never directly communicates to the crowd of his feeling towards the conspirators, Antony was able to effectively convey to the crowd, through the use of verbal irony and other stylistic devices/techniques in his speech, his true views of the assassination. Moreover, Antony was able to shrewdly emphasize his belief of the undeserved assassination of Caesar through the wide use of epiphoral and anaphoral structure in his speech. Antony emphasizes the wrongdoings of Brutus and Cassius through the ingenious use of the epistrophe along with verbal irony as he notes that “I should do Brutus wrong, and Cassius wrong” (III, ii, 125). Moreover, he stresses the importance of punishi...
The power that Lavinia has is not like Tamora’s, which is traditionally masculine. Lavinia’s power is in her femininity. She is able to attract the attention of many men, including Demetrius and Chiron, Tamora’s sons. At one point, Chiron is begging Demetrius to let him have Lavinia saying that he will “plead my passions for Lavinia’s love” (2.1.36). It does not matter to these two men that Lavinia is married; she is still just as attractive to them. Lavinia has the power to attract these men to her by her femininity, but she is not able to ward off their attack because her power is limited to being feminine, not being strong and convincing, like
The Civil Rights Movement refers to the political, social, and economical struggle of African Americans to gain full citizenship and racial equality. Although African Americans began to fight for equal rights as early as during the days of slavery, the quest for equality continues today. Historians generally agree that Civil Rights Movement began with the Montgomery bus boycott in 1955 and ended with the passing of the Voting Rights Act in 1965.
The binary oppositions in Euripides plays, Medea and Bacchae, emphasize the structural techniques seen throughout both of the plays works are “[described as] a pair of theoretical opposites or thematic contrasts” (Marvin 1). The themes are highly symmetrical throughout and typical of the structure of Greek tragedies. Euripides use of thematic antithesis gives greater irony within Greek plays. The gender roles of female and male challenge the traditional stereotypical roles as observed in Greek society, and when those roles are crossed or blurred, the rational becomes irrational and the order of civilized Greek society itself falls into disorder.
...f his honor. When Titus allows Aaron to cut off his hand, he is letting Aaron take away his honor. By the end of the play, Titus has nothing to show of the honor he once killed for.
Manipulation influences decisions and changes others’ thoughts. In The Tragedy of Julius Caesar, manipulative language acts prominently between the characters. Brutus struggles to decide if the safety of the Roman Republic appears more important than his friendship with Julius Caesar. Cassius tries to persuade him to join the conspiracy that decides to kill Caesar. Envious of Julius Caesar’s power, the Senators believes that when Caesar becomes ruler, the change of government forever affects Rome. Brutus agrees that it seems for the best of Rome for Caesar never to become dictator, but he never wishes to change his opinion on his death. In a persuasive manner, Cassius sends anonymous letters to Brutus to convince him to join the conspiracy. The conspiracy consists of senators and aristocrats who gather to converse about the Julius Caesar’s assassination. Cassius nominates Brutus as the leader of the conspiracy in order to gain his vote. They decide to kill Caesar on “the Ides of March.” On the morning of March 15th, Caesar’s wife persuades him to stay home because of an eerie dream. Decius, a conspirator, convinces him that the dream retains good omens. In a rush to become king, Caesar goes to the Capitol where the conspirators murder him. Therefore, Antony begs to speak at his funeral where he convinces the plebeians that Caesar never means harm. At this point, Antony declares war on the Caesar’s killers. In the end, he defeats Brutus and Cassius, and the two conspirators kill themselves. In The Tragedy of Julius Caesar, William Shakespeare declares that language expresses a powerful weapon, and in the hands of a skilled person, it manipulates others through the use of foreshadowing, imagery, and verbal irony.
The great Sophoclean play, Oedipus Rex is an amazing play, and one of the first of its time to accurately portray the common tragic hero. Written in the time of ancient Greece, Sophocles perfected the use of character flaws in Greek drama with Oedipus Rex. Using Oedipus as his tragic hero, Sophocles’ plays forced the audience to experience a catharsis of emotions. Sophocles showed the play-watchers Oedipus’s life in the beginning as a “privileged, exalted [person] who [earned his] high repute and status by…intelligence.” Then, the great playwright reached in and violently pulled out the audience’s most sorrowful emotions, pity and fear, in showing Oedipus’s “crushing fall” from greatness.
Many would perceive madness and corruption to play the most influential role in Hamlet. However, it could be argued that the central theme in the tragedy is Shakespeare's presentation of actors and acting and the way it acts as a framework on which madness and corruption are built. Shakespeare manifests the theme of actors and acting in the disassembly of his characters, the façades that the individuals assume and the presentation of the `play within a play'. This intertwined pretence allows certain characters to manipulate the actions and thoughts of others. For this reason, it could be perceived that Shakespeare views the `Elsinorean' tragedy as one great puppet show, "I could see the puppets dallying".
In Euripides’ tragic play, Medea, the playwright creates an undercurrent of chaos in the play upon asserting that, “the world’s great order [is being] reversed.” (Lawall, 651, line 408). The manipulation of the spectators’ emotions, which instills in them a sentiment of drama, is relative to this undertone of disorder, as opposed to being absolute. The central thesis suggests drama in the play as relative to the method of theatrical production. The three concepts of set, costumes, and acting, are tools which accentuate the drama of the play. Respectively, these three notions represent the appearance of drama on political, social, and moral levels. This essay will compare three different productions of Euripides’ melodrama, namely, the play as presented by the Jazzart Dance Theatre¹; the Culver City (California) Public Theatre²; and finally, the original ancient Greek production of the play, as it was scripted by Euripides.
Shakespeare’s complex play The Tragedy of Julius Caesar contains several tragic heroes; a tragic hero holds high political or social esteem yet possesses an obvious character flaw. This discernible hubris undoubtedly causes the character’s demise or a severe forfeiture, which forces the character to undergo an unfeigned moment of enlightenment and shear reconciliation. Brutus, one of these tragic heroes, is a devout friend of the great Julius Caesar, that is, until he makes many execrable decisions he will soon regret; he becomes involved in a plot to kill the omniscient ruler of Rome during 44 B.C. After committing the crime, Mark Antony, an avid, passionate follower of Caesar, is left alive under Brutus’s orders to take his revenge on the villains who killed his beloved Caesar. After Antony turns a rioting Rome on him and wages war against him and the conspirators, Brutus falls by his own hand, turning the very sword he slaughtered Caesar with against himself. Brutus is unquestionably the tragic hero in this play because he has an innumerable amount of character flaws, he falls because of these flaws, and then comes to grips with them as he bleeds on the planes of Philippi.
The classic play Romeo and Juliet by the famous playwright William Shakespeare is one of the most beautiful love stories of all time and has captured and inspired readers everywhere. Regardless of the fact that it was written in the 1500’s, it is still being performed and extolled today. There is a multitude of reasons for such continuance of the play. First of all, its everlasting themes of love and hate enable people to deeply relate to the story. Secondly, its memorable characters deeply imprint on the minds of readers. And lastly, above all, is its magnificent language which many writers today regard in awe. These three elements make the acclaimed play, Romeo and Juliet, one of the most timeless stories of our lives.
In William Shakespeare's play The Tragedy of Julius Caesar, two speeches are given to the people of Rome about Caesar's death. In Act 3, Scene 2 of this play Brutus and Antony both try to sway the minds of the Romans toward their views. Brutus tried to make the people believe he killed Caesar for a noble cause. Antony tried to persuade the people that the conspirators committed an act of brutality toward Caesar and were traitors. The effectiveness and ineffectiveness of both Antony's and Brutus's speech to the people are conveyed through tone and rhetorical devices.