The following lines from Shakespeare’s Titus Andronicus from Act five Scene one, starting with the line “Lucius, save the child,/And bear it from me to the empress...” and ending with the line “O barbarous beastly villains like thyself!”, the passage is significant in the reading of the play as a whole as this is a part of Aaron’s final words before he is no longer prominent for the remainder of the play. It is also crucial in that is shows an aspect of Aaron not seen previously as what appears to be a father concerned over the life of his son.
First of all, this passage is significant to the reading as a whole because it is the passage where Aaron reveals to Lucius that his son was conceived by both Tamora and himself and that is was in fact Demetrius and Chiron that killed Bassianus and raped Lavinia before cutting off her tongue and her hands. This affirmation of actions which caused Titus and his family so much misfortune would be the beginning of the end in a way because after these revelations a scene
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later Tamora and her sons try to fool Titus, then the subsequent scene following is the death of Saturninus, Tamora, and her sons.
It seems that based on the course of actions, the confession by Aaron serves as a catalyst for the ending of the play.
Furthermore, this passage is of significance as it shows an aspect of Aaron not seen previously. It portrays Aaron as what appears to be a father concerned over the life of his son as he makes Lucius swear that his son will not be killed and shows that he may have a soul, at least it initially does in the beginning of the passage. However, this can also be seen as him trying to save his own bloodline as a selfish act.
Earlier in the play he killed the nurse and made Demetrius and Chiron, Tamora’s two sons, not kill his child through the use of force, however, it would not be possible at the current time in the play as he is not in the same position of power as before and pleads for Lucius to not kill his son. Aaron repeatedly tries to insure the life of his child, yet, it can’t be known whether he is desperate for the life of his son out of love, kinship, or his selfishness for his bloodline to survive and possibly as a means for the future, although, no one knows of how the future will turn out for the child. Right after Aaron’s assurance of life for his son he goes on to reveal the heinous deeds he partook in orchestrating and his lack of a conscience. This can be seen when he states to Lucius, while he is making Lucius swear not to kill his son, that although he, Aaron, does not have a god that he believes in Lucius does and he also has a thing called a conscience which keeps him to his word, unlike Aaron who has done cruel things and even admits to all the things devised by himself. This shows him as cunning and he even states that he knows of Lucius’s faith as he has observed him faithfully practicing his beliefs and he uses those beliefs for his own personal agenda. This passage creates a small aspect of Aaron, which may seem to be of caring nature for his child, however, it can also be viewed as giving Aaron an ambiguous character as it is hard to decipher whether he did it out of the little speck good in his heart, which doesn’t seem very plausible in this point in time, or if it was for his own personal gain in some shape or form. Whether Aaron actually has a sliver of goodness in his heart or whether it’s for personal gain, the passage is significant in that it provides this ambiguous nature to his character as it makes the audience question the moral character of the on of the predominant villains of the play. Is what’s bad really bad or should some things be perceived as is because it is as it is? The interpretation of the scene not only impacts this passage, but the rest of the narrative of the story as it questions the morals of all the other characters throughout the play
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.
Act 1 scene 3 and Act 3 scene 5 of William Shakespeare's Romeo and Juliet
...d how He expresses it distresses Aaron until he decides to come to terms with his own beliefs, whether they are explicitly stated in the Bible or not. When and how people must express their love for God is a tricky subject among the Hartzler family. Aaron’s parents believe in doing nothing but what the BIble says, while Aaron thinks that just because the Bible doesn’t mention something doesn’t mean that it is bad. He notices things that are never discussed or are outdated, and wonders about how he could love Jesus yet disagree with his parents. Through the arguments between him and his family, Aaron finally realizes that he needs to decide for himself what to believe in and how to express it. By the end of the book, when Aaron has matured, what were once his core beliefs have been tossed out the window and replaced by his new idea of life and how to live it.
One of the distinguishing factors in portraying Titus centers in its origin: "Titus Andronicus [...] must be considered as an experimental play" (Bowers 118). Being Shakespeare's first attempt at tragedy, it obviously has room for error. Yet, as some critics and scholars would say, I believe there is a similar element found in all of Shakespeare's works, no matter when they were written: "Shakespeare constantly reminds us that the character's predicament and humanity is very like our own" (Barton 184). No matter what the plot is, or where he chose to set the story, Shakespeare captures a fundamental element of humanity. Within Titus Andronicus, it is undoubtedly humanity's search for revenge: "Titus Andronicus is a play of social piety, outrage, suffering, and revenge" (Barber 133). The first three elements that Barber attributes to the work are consequential to the fourth; it is the revenge and spite of Titus, Tamora, and Aaron that fuel the other three elements.
Act One of Romeo and Juliet by William Shakespeare The play Romeo and Juliet is set in "fair Verona" in Italy. Shakespeare based his play on a poem by Brooke and brought it to the theatres in 1595. Although the play is set in Italy many things mentioned could be found in Elizabethan England, for example the Capulet's party. This suggests to me that Shakespeare had little knowledge of Italian life and culture.
Shakespeare is known for his eloquent word choice and illusive images, and Titus Andronicus is no exception to that. Titus Andronicus being focused around blood, rape and murder, has to be conveyed in a very specific way to promote the concise narrative Shakespeare imagined. More specifically as shown in act 2 scene 1, Shakespeare makes sure the reader knows the background behind Tamora and Aarons complex relationship. In this monologue Aaron addresses Tamora and his love for her using images, cultural references, and poetic devices to further support his desires. Through specific descriptions and illusive images, Shakespeare sets forth scene 2 by alluding to the reader Aarons true intentions to take advantage of Tamora and her power to seek vengeance on Rome.
* Hastiness- Romeo is hasty to fall in and out of love. The two are
Act 3 Scene 3 Of Romeo And Juliet by William Shakespeare Act 3 Scene 3 is a perfect example of Romeo's despondent persona. The events that take place in Friar Laurence's cell occur right after Romeo's marriage to Juliet. Romeo's devastation by the news that he is to be banished from Verona after murdering Juliet's cousin, Tybalt, had led him to seek guidance from Friar Laurence. Although this may seem understandable, Romeo is melodramatic and gives the impression that he is an over-the-top teenager. He illustrates this when he says; "Ha, banishment!
Shakespeare, William. "Titus Andronicus" The Norton Shakespeare. Ed. Stanley Wells & |Gary Taylor. New York/London, W.W. Norton Company,1997. 371-434
better of him. He doesn't even know her name and he believes he is in
The main character in the play is Titus Andronicus while the antagonists are Tamora, Aaron and Saturninus. Titus is a roman hero because he has aided in defeating the Goths. On the other hand, he has lost his own sons through conflicts. In the play, he has a strong urge of revenge. Saturninus, late emperor of Rome’s son, does not obey the authority. Bassiunus is Lavinnia’s lover. Tamora is the Goth’s queen with a strong urge to revenge because her son, Alarbus, was executed. Aaron is a moor who has been given evil personification. Marcus, Titus’s brother, always defends the rights of the people. Titus’s sons include: Lucius, Quintus, Martius and Murtius. Publius is Marcus Andronicus son. Sons of Tamora are Alarbus, Larbus, Demetrious and Chiron. Lavinnia is a vey innocent girl who suffers from unpleasant offenses.
of the Capulet’s orchard. This is a brave thing to do, for, if he had
would suffer bad luck and if you landed on the top you would have good
Act 3 Scene 2 of William Shakespeare's Julius Caesar. Act 3 Scene 2 is most definitely a pivotal episode in the play. In this essay, I will be explaining why that is the case. In the previous Scene, Act 3 Scene 1, Caesar refuses to read the Soothsayer's warning. He mocks the soothsayer by saying, "the ides of March is coming.
William Shakespeare's The Tempest Act One, Scene One This scene introduces the play, and is set during on a ship during a ferocious storm. The passengers are the royal party of the King of Naples, and include the King Alonso, his brother Sebastian, the Prince Ferdinand, and the King's counsellors, Gonzalo and Antonio. The storm, which begins the play, isn't real, but has been conjured by Prospero, a magus, to lure the passengers to his island. This storm is also representation of the metaphorical storm which involves the tumultuous emotions of the play's characters as it continues. The island where Prospero lives is used by Shakespeare as it is completely isolated, and so any action which takes place on it is completely removed from outside influences and complications.