Shakespeare's Titus Andronicus - A Powerful Tragedy Essay

Titus' failings as a parent and extreme devotion to Rome become most apparent when, "In a bad quarrel," he, "[slays] a virtuous son" (Shakespeare, I.i, 341) for opposing his decision to allow Lavina, Titus' daughter, to become the wife of Rome's new emperor, Saturninus. Even in this decision he does not consult with his daughter to see if it is her desire to become "Rome's royal mistress." (Shakespeare, I.i, 241) It is clear that Titus is unable to separate his role as a father from his position as a General in Rome's army. Traub argues "that those character's left outside of the world of marriage tend to be masculine because of their

Titus Andronicus is a play renowned for its bloodshed and human suffering. Shakespeare’s strategic use of diction, literary devices such as alliteration and rhyme heightens the dark ambiance. The dark and lifeless images which pervade Tamora’s monologue explores the breakdown of human goodness and familial relations and loyalty. Titus Andronicus demonstrates the dangerous force of vengeance. Furthermore, Shakespeare’s underscores the complexity of gender roles that can impede female liberties through enduring patriarchal societal values who elevates a prudent woman over the ‘wildly’ lustful woman susceptible to her sexual appetite.

Also the excessively violent actions of the characters shock the audience at times and works to show a bloody part of American history. Furthermore, the film feels as if you are thrown into history with wood constructed sets and men armed with clubs and knives. These elements work to enhance the thematic content of the play and the viewer’s intense experience of an untraditional period piece that relates a different version of American history, one darker and more anarchic. They sets, accents, and character actions all add to the authentic feel of the movie, which makes the film feel like it is a historical narrative, while also being interlinked with an individual story of vengeance that provides not only a historical account, but entertainment for the

William Shakespeare's tragedy Julius Caesar provides audiences with an account involving the Roman dictator Julius Caesar, the 44 B.C. conspiracy that resulted in his violent assassination, and the continued violence that dominated Rome consequent to his death. In spite of the fact that the play's title is Julius Caesar, Caesar's character only appears in three scenes. The tragedy's central character is Marcus Brutus and most of the storyline relates to him and to his failure to understand matters from a general perspective when he has the chance to do so. The play actually demonstrates how violence can emerge from individuals misinterpreting behavior seen in others and the idea of violence dominates most of the play, shaping the way that characters interact and think.

Allistair Brown claims that we take entertainment out of simulated violence because it is cathartic (Brown). Brown also argues that, “Violence becomes comic because laughter, denying the reality or seriousness of whatever threatens, is a way of dealing with trauma” (Brown). With the world being consumed with death at every doorstep, what is so far-fetched at the notion that Titus Andronicus is an extremely dark comedy to help a broken soul cope with the grim reality of medieval life? As there is almost nothing else for society to take away as a benefit from the play (RedEyesTakeWarning), what else could it be? There are already plenty of examples in literature that deliver morals and lessons learned from seeking revenge. Why

Some say revenge is a dish best served cold, but in Titus Andronicus this dish is served piping hot and bloody. One of the literary themes presented is critical disability study. Critical disability is when somebody stands out from the norm. One study talks about being socially disabled and not being able to fit in with the rest of the group in the story. Another study talks about the definition of normality, and how those who don’t fit into that category affect the story as a whole. Another story talks about how being disabled in a certain way acts as a catalyst for a character and fuels their actions from then on. In Titus Andronicus each of these forms of critical disability are present. Titus and Lavinia are both crippled in a multitude of ways physically. However, there are other characters who have a disability that cripples them; Aaron the Moor, Tamora queen of the goths, and Saturninus the Emperor. They are crippled in different ways through their views and actions. These crippled characters are a major part of the story. If they were not present or the things that crippled them were not present then the story would not be viewed in the same light.

The relevance and significance of the revenge tragedy is in the way it explores human nature and forces audiences to evaluate ideologies such as revenge and justice. The concept of revenge is accompanied by moral conflict and Shakespeare demonstrates that by acting immorally society is likely to be riddled with corruption. Hamlet seeks to avenge the death of his father but struggles with the ramifications of seeking righteous revenge through an immoral act. The imposition of revenge instills the existential questioning on Hamlet as it contradicts his with his social expectation. His

Dr. Alistair Brown’s article discusses humanity’s amazing ability to make violence entertaining. Dr. Brown suspect’s laughter is a defense mechanism activated when a moment is too horrific. He also believes how and why the death of a character occurs will determine the audiences emotional response. What’s most uncomfortable about Titus Andronicus is the really terrifying, brutal, and monstrous deeds done happen in real life. Dr. Brown addresses Lavinia’s rape, Chiron and Demetrius’ violent acts, Aaron’s sly self-loyalty, racism, and clashing beliefs against Taymor’s ancient/modern Rome, and believes this is a metaphor for violence and its lack of respect for time. Our responsibility as the audience is to figure out whether or not the acts

By comparing the following primary sources, “The Martyrdom of Perpetua and Felicitas” and “The Rape of Lucretia,” historians can learn about the archetypes of Roman society. The former text, written in 202 or 203 CE, is a prison diary of a young martyr in Carthage. The protagonist, Perpetua, is arrested and sentenced to death because she refused to renounce her Christian faith. Despite having a newborn and hearing consistent outcry from her father to renounce her faith, Perpetua refused to absolve from Christianity. Prior to her execution, she and her comrades experience visions of entering Heaven and specifics of how their deaths would be bestowed upon them. These visions provided comfort to the prisoners because they legitimized the belief in God, as well as sanctioned the power of God to perform miracles. As God willed it, Perpetua, the “most valiant and blessed martyrs”, was ultimately executed in the arena. The latter text, written in 17 AD by Roman historian, Livy, is a story of propaganda about the rape of a honorable woman named Lucretia. Lucretia, Tarquinius Conlatinus’s wife, was the quintessential example of a Roman martyr. She was applauded for her modest, hospitable, and dutiful nature. Tragically, she was forcibly raped by the emperor’s son, Sextus Tarquinius. Consequently, Brutus, Tarquinius, and Lucretia’s father, did not object while witnessing Lucretia commit suicide in order to preserve her and her family’s

The two major characters, Hamlet and Titus of Shakespearean plays, Hamlet and Titus Andronicus are characteristic in terms of considering revenge and aspiring to avenge the murders. However, the two are quite different in their approach toward revenge. This is due to the fact that two protagonist in their respective plays consider revenge differently since Titus is anxious to avenge the murder and Hamlet delays his decision of taking revenge while seeking other alternatives to revenge such as suicide.

There is such a considerable amount of violence in Titus, varying in intensity and degree that it might seem hard to draw any firm conclusions about its impact. One can, however, obtain the idea that the violence within the play has a far greater impact on both the audience and the on-stage characters when accompanied by a rhetoric or language that either juxtaposes or reinforces the brutality. The way in which characters react to violence, evident through their speech and imagery, can manipulate our responses to them and instil either an affinity or indifference to their personalities. Titus' first appearance in Act I Scene I is an example of this manipulation. His cold, calculating rejection of Tamora's plea for her son's life, juxtaposed with the solemn, funeral rhetoric give us the impression of a character who can flit between brutality and normality very easily, and who demonstrates little compassion when doing so.

All though, Lavina, had many things happen to her she ended up getting revenge. When Chiron and Demetrius raped, cut off her hands, her tongue, and killed Bassianus with the help of there mother and Arron they thought this would make her suffer and they would not be caught. Since they took her and hands and tongue they thought she would never be able to blame them for this.”She takes the staff in her mouth and guides it with her stumps and writes. Stuprum. Chiron, Demetrius”(4.1 SD), Lavinia finds a way to tell everyone that she was raped by them. Chiron and Demetrius thought no one would find out what they did and nothing would happen to them. “This one hand yet is left to cut your throats while that Lavina tweens her stump doth hold the bassin that receives

Curiosity and revenge are what make every form of entertainment in the action genre truly enjoyable. The characters draw the audience in and take them through a plot to find justice. Separated by around 2000 years, Sophocles's Oedipus Rex and Shakespeare's The Tragedy of Hamlet: Prince of Denmark both possess a plot akin to each other with a similar main idea of attempting to discover the main character’s father’s murderer. These famous tragedies depict two tragic heroes plagued with incestuous mothers and bad luck who fight to find truth and justice. Although both plays are similar in plot, the characterization of Hamlet and Oedipus have crucial differences which begin to appear: Oedipus is dependent on external forces and unorganized in his search for his father’s killer, whereas Hamlet is highly affected by internal forces and meticulous with his planning.

The theme of Revenge has been utilized in numerous works of art throughout history, including books, plays, movies, etc. Revenge is the result of one’s desire for vengeance, however, revenge is known to be implied under high emotions of anger thus not with reason concluding with a horrible outcome. Shakespeare’s play ‘Hamlet’ is no doubt a play about a tragedy caused by revenge; Prince Hamlet’s retribution for his father, King Hamlet’s murder and Laertes vengeance for his father, Polonius’ murder. The theme of revenge in Hamlet is portrayed through various literary techniques such as foreshadowing and irony.

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."