Analysis Of The Book ' Coriolanus ' And ' Titus Andronicus '

Titus Andronicus is a play marked by acts of horrific violence and littered with death and the destruction of others. Each violent act, however, serves to explain and sometimes encourage the motives of the play's memorable characters and impart a very tightly knotted plot. The structure of the play employs well-defined heroes and villains. Revenge is their key motivating factor. All of these elements combine to form a cohesive plot and contribute to the overall success of the story.

Paul is the author of the book of Titus. The book of Titus was written around the years 63-65 A.D. The letter was addressed to Titus who was a gentile and a companion of Paul. Paul called Titus his “True son”. Titus along with First and Second Timothy are called Pastoral Epistles. The reason for being categorized that way is because the letters emphasizes the reason for having leaders within the church. (Votaw, Clyde W. pg.130-38) The book 's theme is instructions to Titus on how to run the churches in Crete and to encourage Titus in faith. The first readers of this letter would be Titus, some of the leaders within the Crete churches, Zenas and Apollos who Paul gave the letter to give of Titus. Paul and Titus most likely visited Crete

Volumnia’s character in Coriolanus both supports and breaks the normal gender roles and basis of what is feminine and what is masculine. Since Coriolanus’s father is not around, Volumnia plays both parts of a mother and a father in the family. Volumnia raises her son to be masculine and to exude power despite that she is a woman. She sends him to war and does not think about the consequences or hardships he must face. Unlike a regular mother, she loves seeing Coriolanus’s wounds because they represent strength and show his manly struggles. How Volumnia raises Coriolanus is reflective of herself because she thinks that men who do not fight in the war should not be respected by their country, and furthermore, that one is not a “man” but only a boy before going to war. Like his mother, Coriolanus sees the plebeians as cowards because they have done nothing and have not fought in the war. Because of this, Coriolanus believes he is better than them and that they should respect him and not the other way around. Coriolanus’s masculinity makes him all the more powerful-- his violent and aggressive behavior gives him more power than those men who have not fought in war. Evidently, masculinity is a foundation for power and Volumnia has raised her son to adhere to masculine qualities in order for him to be more powerful. By being a man and fighting for Rome, he is to be made council, giving him power to rule over others. Furthermore, Volumnia acts more as a general to a soldier than is

There are have been many arguments throughout the history of Shakespearean academia regarding the validity of Shakespeare’s authorship to Titus Andronicus, and the critics have not been shy to express their discontent of its seemingly endless violent montage. As Michael Fentiman and Harold Fuller point out of what Dr. Samuel Johnson spoke to in 1765,

In his essay, “Introduction to Oedipus the King”, Bernard Knox supports free will by stating that Oedipus’ downfall was not caused by fate. According to Knox there is not a doubt that, “Oedipus is the free agent who, by his own self-willed action, discovers that his own predicted destiny has already been fulfilled” (86). He clearly states that Oedipus is responsible for his free actions during the play. He insists that Oedipus’s made the decisions to discover the truth about himself.

Lastly, Romans change rulers so quickly. The Romans show repeatedly throughout the play that their opinions are easily altered. Additionally, in the beginning of the play Caesar kills Pompey. Just before his death the Romans worshiped and loved Pompey. Then directly after his defeat they cheered. Praising Caesar for his victory in killing their deceased idol. “ With patient expectation to see the great Pompey pass the streets of rome… That comes in triumph over pompey’s blood?” (I.i.34-51) Although technically their indecisive behavior could also support the killing of Caesar. The Romans are so easily wavered yet this happens in another place in Shakespeare’s play Julius Caesar. Shortly after Caesar’s

In William Shakespeare’s “Titus Andronicus,” Titus is a soldier and a father who, with the love of his country, served ten years of his life fighting the Goths along with his sons. As the General of Rome, he is a very popular and heroic man for his service and is given a reward upon his return: the seat of Emperor of Rome. This position would have been very fitting for him if he had taken it; however, he gives his seat up to the previous emperor’s oldest son. This begs the question, why would he do such a thing? Would he not rather relax in a throne and rule of the beloved nation he spent over a decade protecting? The answer is that Titus is a very religious and traditional man who will not go any other way in terms of morals and actions; no

Coriolanus was responsible for his own fate because he was too proud which made the people of Rome hate him. Sicinius remarked that Coriolanus was proud when Sicinius said, “Was ever man so proud as is this Martius?” (Shakespeare I.1.250) Also, Brutus and Sicinius commented that, “Brutus: He’s poor in no one fault, but stored with all. Sicinius: Especially in pride.” (Shakespeare II.1. 17-18) Another time in which Coriolanus displayed his pride is in Act II, Scene 3 when Coriolanus refused to show his battle wounds. Coriolanus felt that it would be degrading and humiliating to show his wounds, so he would not do it even though showing them would have made him consul and not showing them would have prevented him from becoming consul. Coriolanus’ pride was damaged when he was banished from Rome. Since his pride was hurt, Coriolanus wanted to get revenge on the Roman people, so he went to

Shakespeare presents Cassiu’s character as complex character, torn, on the one hand between his loyalty and love for a childhood friend and his true patriotism for his country, Rome, on the other, along with its future at hands of tyrannical, self seeking and despotic king, Julius Ceasar, who would sop at nothing to fulfill his ambitions and his megalomaniacal lust for power.

Throughout the tragedy of Julius Caesar, by the playwright, William Shakespeare portrayals of betrayal are exhibited toward Caesar himself. Caesar began as the loved and treasured leader, the people cherished his management and power enough that they offered him the crown, although he never officially accepted it. His dearest friends, and the city of Rome; whom he considered family decided to forsake the love they had and betray him. His fellow senator Cassius initiates the conspirators and Caesar's alleged best friend to plot a murder plan. They’re cemented into the mentality that it will be for the wellbeing of Rome. This ultimately generates a domino effect throughout the rest of the play. Which subsequently leads to the plebeians of Rome

Roman values and their importance to the state play a central role in Julius Caesar. These values are portrayed as integral to the success of Rome, because the majority of these virtues act in favour of the state. Each person in Roman society has their own role which is part of a more important collective whole. Characters in the play seem to identify more with being a citizen or “soul of Rome” rather than a unique individual (Shakespeare, 2.1.323). The play emphasizes Rome as “an alien society” and analyses the relationship “between Rome and the Romans, who see themselves as ‘citizens,’ rather than ‘men’” (Miles, 2). Shakespeare emphasizes the importance of the state over personal thoughts or feelings: “not that I loved Caesar less, but that I loved Rome more” (Shakespeare, 3.2.21-22). Each of the Roman virtues arises out of a sense of duty to put the state over the self. Following this duty evokes a necessary recognition of

As society lacks critical thinking, people let those in power manipulate them to get a taste of power. When Caesar returns from the battle with Pompey, the people of Rome are rejoicing in the streets. Yet Marullus accuses that “[the men of Rome] have hard hearts” and “[do not remember] Pompey” (I.i.32-37). The people of Rome abandon Pompey’s side as soon as Caesar wins. If they join Caesar, Caesar will like them more and their fellow citizens will continue to respect them. If they align with Pompey, the masses will attack them because Pompey’s army no longer has all it’s honor and power. Similarly, when Cassius is asking Brutus about his thoughts on Caesar, he philosophizes that “men at some time are masters of their own fates: the fault, [Brutus], is not in our stars, but in ourselves, that we are underlings” (I.ii.139-141). Cassius’ statement explains that the less power someone has, the less control of their fate they have. Because Brutus has a huge amount of power as Caesar’s friend and as a senator, the people of Rome honor and respect him. Brutus aligns himself with Caesar and Cassius

Volumnia, unlike the other women in the play such as Virgilia, does not recoil from war and the battlefield. Instead, Volumnia both identifies with the war hero and delights in both his triumphs and his pain. In describing the pride she would gain from her sons' deaths in battle, Volumnia separates herself from the other women in the play who want nothing to do with war, "I had rather eleven die nobly for their country than one voluptuously surfeit out of action." (1.3.20-21). Thus the pride that Coriolanus derives from his own wounds and wounded body is a product of his mother's pride in having a wounded son. Volumnia describes with pride Coriolanus's bloody brow, "Though you were born in Rome!' His bloody brow/ with his mailed hand then wiping" (1.3.31-32). The pride that Volumnia procures from her son's victories and injuries winds up reflecting itself on Coriolanus who describes these victories and wounds with equal pride. By the end of the first act, Volumnia's descriptions of mothering demonstrate the warlike spirit she has channeled into her raising of Coriolanus. The imagery she uses in Act 1 Scene 3 also separates her from the other women in the play. Volumnia speaks of "blood," "swords," and "death," while women like Virgilia speak of "sewing" and "butterflies."

In the play Oedipus Rex, Oedipus unknowingly murders his father and marries his mother. When Oedipus discovers this he is disgusted with himself and decides to go into exile. The Misanthrope is a play about the self-exile of the main character Alceste. Challenged in court, he refuses to take back the criticism of a sonnet written by a powerful nobleman. Alceste and Oedipus are both convicted by their knowledge of the truth. Although, the United States grants asylum to more refuges than any other country, there is one man who has decided to self-exile.

At the end of the play when Coriolanus lies dead it is largely his own fault (because of him being too proud). Coriolanus continues to show his pride. He says “Twas never my desire to trouble the poor begging”