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Titus andronicus critical essays
Titus andronicus critical essays
Titus andronicus critical essays
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A fathering text to Shakespeare’s Titus Andronicus, says T.W Baldwin, was a chapbook that was interested in the relationship between the Goths and the Romans (Kermode 1067), an idea that appears as an underlying theme throughout the play. In Titus Andronicus, the characters are often observed trying to discover which people, the Goths or the Romans, are more uncivilized. In the opening of the play, in response to the Roman’s inhuman sacrifice ritual, Chiron, son to the Gothic queen Tamora asks “Was never Scythia half so barbarous” (Shakespeare 1.1.131), claiming, though he is a Goth, his people were never so barbaric. Just moment after, Titus’s brother, Marcus, attempts to reason with him, saying “Thou art a Roman, be not barbarous” (1.1.378). He accuses Titus of being …show more content…
He takes it upon himself to lift Lavinia’s spirits despite her circumstances, by keeping her company. In the woods with Lavinia, Titus displays his most paternal moments. Nonetheless, despite countless tender displays of affection towards Lavinia, he heeds advice from Saturninus and kills her as easily as he comforted her, shouting, “Die, Die Lavinia and thy shame with thee and with thy shame thy fathers sorrow dies” (5.3.46-7). His outburst shows that he wanted her dead, so she could escape her shame yet, truthfully, he wanted her dead so he could be free from his sorrow. Throughout the play, in response to Lavinia’s situation, Titus is shown reciting beautiful statements of sympathy and sorrow, yet in every mention of Lavinia’s situation, Titus manages to address his feelings over hers “He that wounded her hath hurt me more than he kill’d me dead” (3.1.90-1). Titus kills Lavinia not for mercy but for selfish desires, he is seen again favoring his own feelings over the wellbeing of his
This is a comparative analysis that seeks to examine Shakespeare's play, Titus Andronicus, and compare it to several scenes from Julie Taymors’ film, Titus. The main focus is to see whether the film stays true to the play when it comes to violence and dialogue. Both are filled with grotesque scenes that have to do with rape, mutilation, murders and even cannibalism. The most important topics are revenge and violence, for that reason violence is going to be the center of focus in this analysis.
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...
Throughout the play, Laertes is as an extremely caring member of his family. His strong emotions for family have an opposing side to it, a shadow that has repressed feelings of anger which cause him to add to the disaster in Denmark. An example that depicts this is when Laertes attempts to request more rites for Ophelia’s funeral. After he is denied, he starts a commotion by calling the priest “churlish”, explaining that Ophelia will be “A ministering angel” while the priest will “liest howling”(5.1.217-218). His compliments to Ophelia shows how much he loved her, while his nasty insults to the priest show his repressed rage. While this is occuring, Hamlet hears Laertes’s mention of Ophelia during the commotion and throws himself into a brawl with Laertes. It is the conflict built up from there that causes Claudius to target Laertes as his next weapon to kill Hamlet with. Laertes’s deep anger for Hamlet makes himself the best candidate for Claudius’s manipulation. Once Laertes’s sides with Claudius, he shows his dark intent by requesting Claudius to not “o'errule me to a peace”(4.7.58). On the day of the duel, Laertes undergoes a confrontation of his shadow while he clashes with Hamlet. His realization of his shadow comes too late into the duel when both Hamlet and Laertes are struck by poison, as this happens he declares that he is “ justly killed with mine own treachery (5.2.337).” In the moments that he is still alive, he dismisses his shadow and ends the circle of murder by announcing the true nature of Claudius. Laertes’s repressed anger guides the play into the duel where many deaths occur including Hamlet’s.
Shakespeare's villains seem to fall into one of two categories: those who are villainous of heart (inherently and genuinely evil or Machiavellian) and those who are circumstantially turned antagonists. Richard III's carefully plotted plans to usurp the throne contrast heavily against Aaron's (of Titus Andronicus) rambling which contrasts with Aaron's lack of action. The motivations of these two characters are different however. Richard seizes the opportunity to take over the throne by Machiavellian means when presented with the opportunity. Aaron represents the evil presumed of a "godless moor," his character being a symbol as much as his skin colour particularly to an audience familiar with the conquests.
The play, Titus Andronicus, is almost bursting with disfigured and distorted bodies. The most obvious and apparent of these is Lavinia, who is raped and has her tongue and hands cut off. In addition, one of Titus’ hands hand’s is chopped off, and the remaining dead body parts of Demetrius and Chiron are cut up and made into a pie that Titus serves Tamora in the final act. All this bodily disfigurement can be related to a common metaphor that personifies the empire of Rome as a body. For example, when Marcus wants Titus to become emperor of Rome, he tells him to “set a head on headless Rome.” Similarly, at the end of the play, Marcus promises to restore Rome, saying that he will “knit...these broken limbs again into one body.”
To be noble is to be honorable, not only by birth, but as a person. Julius Caesar is a tragedy by William Shakespeare that summarizes the infamous death of Julius Caesar, a Roman dictator, and the whereabouts of the Romans who were involved with his death. William Shakespeare, in his play Julius Caesar, contrasts honor and tortility using the imperial Marcus Brutus and the barbaric dictator Julius Caesar to reveal the importance of internal values among the Roman people.
The premise of the play Titus Andronicus can be easily summed up in one word. That word is simply ‘honor’. Honor means a different thing today than it did during the Roman Empire or Shakespeare’s life, but it is important to know honor’s definition in order to understand Titus Andronicus. Honor was used to justify murdering multiple times throughout the play. Titus killed two of his own children to protect his honor. Titus’s honor was also destroyed by Lavinia being raped and mutilated and Aaron tricking Titus into cutting off his hand, an important symbol of his honor. The word ‘honor’ has a huge impact on the play Titus Andronicus.
Shakespeare, William. "Titus Andronicus" The Norton Shakespeare. Ed. Stanley Wells & |Gary Taylor. New York/London, W.W. Norton Company,1997. 371-434
...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.
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.
When Shakespeare wrote Titus Andronicus, the issues of race were at their peak. It was the time where blacks were seen as barbarous and villainous, and that is exactly what Shakespeare gave his audience when he presented the character Aaron the Moor. Unfortunately white Europeans did not sympathize or connect with this character, mostly because Aaron seemed to symbolize the black population as a whole. Shakespeare makes it very clear that Aaron has a hard time of gaining the likeness and approval of not only the audience, but also the characters in Titus Andronicus. In his article, Uddalak Dutta states that “Shakespeare seems to attest that “blackness” is, indeed, not merely skin-deep but an essential character trait” (927). Aaron’s characterization is one that cannot be matched by any other character in Shakespeare’s plays. Aaron embodies the characteristics of
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.
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
After being silenced for the majority of the play, Lavinia finally regains the power she lost as a result of Chiron and Demetrius’ horrible crimes. The two men responsible for her maiming face swift justice, and Lavinia is essentially put out of her misery by her own father. Shakespeare makes it brutally apparent that written word is stronger than speech by stripping Lavinia of her ability to speak. Shakespeare creates this situation to offer redemption to both Titus and Lavinia, who both were greatly wronged throughout the play. Lavinia gains her power by finding the ability to write the names of Chiron and Demetrius, and maintains that power until she meets her demise. Titus himself feels a great sense of revenge, as he proclaims “For worse than Philomel you used my daughter, / And worse than Procne I will be revenged” (V, iii, 200-201). Shakespeare was very progressive in his decision to give Lavinia the ability to write in the play. His own daughter was incapable of writing, which is potentially a side effect of Shakespeare’s busy life (Callaghan 2013, 27). Ultimately, Lavinia’s power is short-lived, but marks one of the very few times in the play where justice is legitimately
His father was killed by Hamlet and his sister was driven insane due to the series of events that took place because of Hamlet. Like Hamlet, Laertes wants to avenge his father by killing the man who killed Polonius. As described earlier, Hamlet is slow to act. Laertes, on the other hand, acts quickly and with precision, wasting no time in acquiring his target and formulating a plan. Robert Palfrey Utter, Jr., puts it best, Hamlet and Laertes both come to the same conclusion that murder must be carried out, but Hamlet reaches that conclusion only “after he has had a few minutes to think it over.” (140) Once Laertes finds out that the man who killed his father was Hamlet he is ready to charge in and kill him as soon as possible. He is only stopped by Claudius, who advises him on a more subtle approach. Straight off the bat it is clear how efficient Laertes is compared to Hamlet. Hamlet wastes a large amount of time scheming up complex ideas on how to get a confession out of Claudius and how to kill him. Laertes on the other hand wastes no time in getting a straight and to the point plan that he can execute immediately. After spending more than half the play watching Hamlet squirm around on the stage getting almost nothing accomplished, the audience would be acutely aware of the stark difference between Hamlet and Laertes even though they share the same motivations. Laertes has his speed but he shares in Hamlets lack of critical thinking when he gets hot headed. He is in such a blind rage that he doesn’t think on what he is agreeing to do with Claudius. Just like Hamlet, his brash actions cost those around him his life. In carrying out the plan, the King, the Queen, Hamlet, and he all die to the poison that was used in the duel. Hamlet was slow and reckless while Laertes was quick and reckless. Wilds sums up the relationship between Hamlet and Laertes perfectly, “Laertes and Hamlet have been foils to each other