Titus Andronicus By William Shakespeare

Titus Andronicus By William Shakespeare
The play Titus Andronicus by William Shakespeare depicts the Roman Empire from a very traditional perspective within each of the characters.
Shakespeare creates a visual of historical Rome that includes many blood battles, deception, courage and loyalty not just to Rome and her people,
but to one 's family. By doing this, Shakespeare shows the reader that Rome was a great city of power that revolved around the idea that justice
must be of an equivalent manner suitable to the crime committed by the other party. The word "Rome", both historically and in modern times, is
often defined as being the perfect model for an advanced civilization, and many looked upon Rome and Romans as being "examples of excellence
for architecture and political advances within a society". ("Rome", OED Online). The word "Rome" is seen frequently throughout the play and is
used by almost all of the characters. It is a word that describes what Roman civilization entails and how the city of Rome can be a very dark and cruel
city. The Roman characters in particular describe the two main concepts of "Rome" and "Roman" by means of traditional birth–right and traditional
forms of justice. Both meanings are seen frequently amongst each Roman character. By fully understanding why particular events in the play occur
and being able to see the traditional aspects of the word "Rome" among each character, it aids the reader in understanding how the play revolves
around the historical context of Roman values of
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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. A central theme of Titus Andronicus is the unyielding cycle of revenge. Tamora's monologue is rich of
...show more content...
of their humanity. Furthermore, the references to "dead time" and the "night" foreshadow the great loss that pervades this play (2.3. 99). Tamora
illuminates the audience of her disturbed psychological state. Shakespeare's use of rhyme and alliteration emphasize Tamora's transition into an evil
and vengeful woman. Tamora's response to her son, Demetrius begins, "Have I not reason, think you, to look pale?" uses alliteration of the l–sound,
"look" and "pale" focuses on her sickly appearance to represent her dying humanity (2.3. 91). Additionally, her reference to the "hellish tale" and "the
trees, though summer, yet forlorn and lean" prolongs the rhythmic pattern of l–sounds; her emaciated body and mind remain fruitless (2.3. 94). The
"fearful and confused cries" amplify the intensity of those cries, coinciding to the assailing cries in Tamora's mind (2.3. 102). A critical moment of her
monologue reveals the dehumanizing effects of vengeance, which she has allowed to penetrate her body and mind. Tamora's line seeded with the
s–sounds, "As any mortal body hearing it, Should straight fall mad, or else die suddenly" displays her regression into an un–human existence and
pleads to those listening to sounds she can no longer bear to hear (2.3. 103–104). Shakespeare uses language to explore the controversial gender roles.
His use of two distinctively opposing female

Julie TaymorвЂ™s Titus Andronicus Essay
Julie Taymor's Titus Andronicus
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 toTitus, 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.
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...show more content...
First of all, looking at the practical purpose of Shakespeare's work, we see that he was trying to overcome the standard Kyd had set down with
violence, found in works such as the Spanish Tragedy: "Titus Andronicus tried to surpass [Kyd] in the portrayal of blood and horrors" (Bowers 109).
Not only did the violence serve as a practical means of marketing, but the emphasis and devotion to the villainous character of Aaron "extends the role
of the villain" (Bowers 274). For the first time we have monologues of the villain developing if not at least trying to explain his motives. With this
development, Shakespeare further progressed his craft and simultaneously, gained stature for his inclinations. The non–practical explanation for Titus
Andronicus' violence is found within the characters and the aspect of humanity their actions portray and mirror, if only in part, in all of us. There is
a foundational element in all of us that seeks revenge. For we need "look only to [...] the present decade [...] to see that Titus Andronicus is no period
piece irrelevant to contemporary times" (Karten 1). Though the decade Karten speaks of is the 1990s. The "present decade" obviously rings true with
the events of September 11, and in my opinion, more so with the overall events of the American involvement in the Middle East. We are not too far
from revenge to not appreciate the message Shakespeare presents in Titus Andronicus. T.S. Eliot may call

Titus Andronicus Analysis
In Titus Andronicus, we learn the absurd story of a father who lost most of his family because of his eagerness to keep his pride and honor. I agree
with author Harold Bloom in his argument that you never know what to expect while reading this play. Since Act I, the play is almost intolerable to
stand as Titus kill one of his surviving sons –who was only trying to defend his sister– in the effort to save her from her true love. This clearly stated
that death was going to be the "main character" of such play. Although Shakespeare tries in vain to portray the humane side of Titus in Act III, Scene ii
–where Andronicus gives a speech about having "mercy" for a fly– it actually changed the course of the play as it shows the inconsistency of Titus

In William Shakespeare's Titus Andronicus the characters Aaron, Tamora, Demetrius, and Chiron are considered monstrous due to their actions that
lead up to the tragic ending of the play. Jeffrey Jerome Cohen's idea of characteristics that a monster possesse would also classify these four characters
as a monster. Although Tamora, Aaron, Demetrius, and Chiron are the most monstrous characters ofthe play, none of the other characters are
considered innocent because they all contribute to the terrible ending. Cohen states in his essay "Monster Culture (Seven Theses)" a monster is
manipulative and never exactly dies, these characteristics are seen in Aaron. After informing Titus about some information about sparing the life of
his two sons Aaron says to himself, "If that be called deceit, I will be honest and never whilst I live deceive men so," (3.1 192–193). Aaron has just
convinced Titus to chop off his hands in exchange for sparing the lives of his two sons, but his two sons are already dead and have their heads
chopped off. While Demetrius and Chiron are arguing Aaron suggests, "Single you thither then this dainty doe, and strike her home by force, if not
by words. This way, or not at all, stand you in hope... The woods are ruthless, dreadful, deaf, and dull. There speak and strike, brave boys, and take
your turns. There serve your lust, shadowed by heaven's eyes, and revel in Lavinia's treasury," (2.1 124–139). Aaron convinces them that they should
not be

Titus Andronicus Family
In Titus Andronicus, we learn the absurd story of a father who lost most of his family because of his eagerness to keep his honor. Sadly, his efforts
were in vain due to the fact his pride and false sense of loyalty to the royal crown drove him to do the craziest things. In the play "The Tragedy of Titus
Andronicus," William Shakespeare portrays the humanity of every character –the nobles and the villains– and the way they react to every situation in
the play. Titus was a father whose innocentfamily was victim of the situation, but his decision to sacrifice Tamora's son sparked the rivalry between
the two and the doom of Titus himself. This helps me to come to the conclusion that this play is not to be taken seriously. As Harold Bloom stated

Essay on The Real Hero of Titus Andronicus
The Real Hero of Titus Andronicus
I found Rome a city of bricks and left it a city of marble –Augustus Caesar (63 BC – 14 AD)
In his essay, Titus Andronicus and the Mythos of Shakespeare's Rome, Robert Miola uncovers and explores the myths Shakespeare uses as bedrock for
the background and plot of his first Roman tragedy, TitusAndronicus. Most notably, Miola discusses two Ovidian myths, The Rape of Philomela and
The World's Four Ages. The Rape provides Shakespeare with his basic characters and the events involving Lavinia, his Philomela, while Ovid's fourth
age of iron describes Shakespeare's physical Rome, "a quintessentially iron city," writes Miola, "a military establishment protected by walls and filled
with sword–carrying...show more content...
Rather than this being a 'singular' interpretation, I think my reading directly supports the "heterogeneity of the city's... character" of which Miola speaks.
All the persons Shakespeare depicts in Titus are two dimensional, either good or bad. The dividing line falls between those who support Titus, the
tragic warrior hero, and those on the side of Tamora, the evil Queen–empress. The former are noble and selfless, demonstrating roman pietas, while the
latter are ignoble and selfish. In Jack E. Reese's essay, The Formalization of Horror in Titus Andronicus, he makes the point that Tamora and her sons'
allegorical dressing–up as "Revenge, Murder, and Rapine can be viewed as a symbol of the characterization of the entire work" (Horror 79). In this
scene, they are as they are, the symbol is exactly the same as the person. The only two characters who might be said to escape the dichotomy are
Titus and Aaron the Moor. In Rome, Titus "sacrifices" both his son and his daughter, says Miola, "on the alter of his own personal honor" (Family
67). It is fair to say that personal honor is his concern in killing his offspring, for Mutius represents shameful filial disobedience (or mutiny) and
Lavinia represents his inability to protect her and is a reminder of a shameful act done not only to her, but to her whole Andronici family too. It

Titus Andronicus Essay
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...show more content...
He doesn't even want the body of his dead son to lay with the rest of his family. Considering how dramatizing it is for any parent to lose their child,
Titus feels no remorse for his actions against his son. To Titus, his son had just dishonored him and that is one of the worst offenses to a soldier. It
could be inferred that he could easily kill him all over again. However, Titus does not win the argument and his son is buried with the rest of his
family. Another tragedy that makes audiences cringe is the rape of Titus' daughter, Lavinia, by Tamora's sons, Demetrius and Chiron. Tamora's lover,
Aaron, urges the two sons to take revenge by raping her,
"Fitted by kind for rape and villany:
Single you thither then this dainty doe,
And strike her home by force, if not by words:
This way, or not at all, stand you in hope" (2.1.673–676).
Aaron's statement suggests that he intends to use Lavinia as a message to Titus. The message would show their anger and hatred towards him and his
family. The sons do agree with him and Chiron mentions, "Thy counsel, lad, smells of no cowardice" (2.1.690). After they rape her, they cut off her
hand and tongue so that she can't reveal their identities. Lavinia returns home where she tries to hide but is found by her uncle, Marcus Andronicus.
He takes her in and reveals to Titus his mutilated daughter. Lavinia tries her best to give away her captors. Marcus goes on to

Tiffany Stelle
English
Prof Barrett–Graves
8 April 2015
Tamora: Gender Constructs in Titus Andronicus
In Shakespeare's plays it is important to understand the historical context of women in the Elizabethan Age and their role. The Shakespearean era
consisted of a misogynistic and patriarchal society which contrasted with Queen Elizabeth being the head of the state. Even though the most important
person in England was a woman, the common woman was still very limited in her power and in her independence. Women in this era were
dependent on men socially, economically and sexually. Married women were not allowed to be in the public without their husbands, they were
bound to the domestic area. Women in general were believed to be less rational than men and always needed male protection and guidance. As they
were thought to be incapable of caring for themselves, it was the men's duty to control their sexuality; the father had to guarantee that his daughter
marries as a virgin and the husband had to control his wife so she would only bear his children. Economically women were dependent on men
because they were not allowed to have their own business or be involved in trade. They were seen as objects of bartering that men traded with and
treated as if they were property. Women were believed to be passive objects, this idea of male dominance above women is represented in theology and
philosophy and even supported by medical science: "The fact that female sex organs were inside was

Titus Andronicus
Having an open mind creates the possibility of accepting new ideas, but refusing to listen to others can do more harm than good. In Things Fall Apart
by , Antigone, and Titus Andronicus, stubbornness of the protagonist is the main conflict that leads the tragic hero to their downfall. All three tragic
heroes, Okonkwo, Antigone, and Titus believe their own beliefs are the correct ones to be followed and that nothing is wrong with them; however, as
the stories progress, it's clear to see that this is what ultimately leads to the characters' deaths.The three plays consist of main characters who are
stubborn and only follow by what they believe individually. They are completely relentless when it comes their beliefs. This stubbornness results in the
downfall of the main characters because their beliefs go against the main conflict of the story, and when the characters feel they might be dishonored
because of their actions, they end up with the inevitable fate of either committing suicide or being murdered. Okonkwo's beliefs are mainly related to
masculinity. Throughout the story, it's clear to see that Okonkwo is very attached the idea of masculinity and power. Since
Rome had just finished having a war with the Goths, and as a result of this, Titus's sons were killed in the war. They were to execute Alarbus
because Titus wanted to sacrifice a traitor for the lost lives of his sons. Tamora begs Titus not to kill her son, but Titus insists that he can't do
anything about it because it will please the gods as the sacrifice would make up for his sons' deaths in war. This would result in Tamora being furious
towards Titus for what he has done. Tamora would get her revenge towards Titus with the help of Aaron, her secret lover. She constructs a devious plan
with Aaron, which would lead Titus to lose his sanity, resulting in Titus to be murdered by

Titus Andronicus Analysis
Titus Andronicus is a tragedy written by William Shakespeare. Titus Andronicus is Shakespeare's first tragedy. The play is considered by critics and
fans alike to be Shakespeare's most distasteful work that features excessive violence and spectacle. Julie Taymor's film adaption explores the
corruption of violence as she creates many visual parallels to our modern culture of entertaining violence, paying close attention to the plays relish of
spectacle. Both Shakespeare and Taymor treat the spectacle and excess of the play in their own way which highlights small differences between the
two texts.
A spectacle can be defined as "a visually striking performance or display". As Taymor's version is an adaption, she was able to experiment with the
excessive nature of the play and its spectacle. She opened the film with a cold open showing a young boy playing with toy soldiers, violently
smashing them together and spraying ketchup all over them to create blood. His own fantasy game becomes a reality when an explosion outside the
kitchen window frightens him under a table from which he is rescued just before it explodes. He is then transported to an area and the audience cheers,
but it feels artificial just like the opening scene of Shakespeare's play. This layering of spectacle occurs throughout the film, because it has a
combination of modern pop culture and ancient Roman designs to give the impression that the Roman Empire survived into the modern era as Roger
Ebert writes in

Titus Andronicus
The Puppet Master of Rome Every villain has their motives, but the best ones never truly reveal them. In Shakespeare's play, Titus Andronicus, the
titled character is an old war hero whose downfall is his dedication to his country over his own family.Titus has come back from a war with the
goths, among his prisoners is Aaron the moor. Aaron is a black man in service of the goths, who has a secret affair with their empress, Tamora. Aaron
is the play's ultimate "other " because of his cruel wit and his race. Aaron's scheming puppet master like tendencies, his outsider status, and his
shameless bloodlust give him the most control over all of the characters fates and the outcome of the play. His precise plotting and control over the
After Aaron refuses Tamora's advances he speaks of how, unlike her, Saturn controls his desires,"Vengeance is in my heart, death in my hand, Blood
and revenge are hammering in my head"(2.3.38–39). Aaron seeks vengeance and would rather plot against the Andronici than be with his lover. His
motives can be a bit unclear to the reader. Some may say he has none and simply enjoys being bad, as he openly brags about doing "a thousand
dreadful things as willingly as one would kill a fly"(5.1.143–144). He does shamelessly enjoy the awful things he provokes, but it is clear later in the
play that in reality Aaron seeks retribution. After a nurse delivers the child he has concieved with the empress he lashes out at her for calling his
dark skinned child vile names and proposing the child be put to death. Aaron defends his child, saying "Zounds, you whore, is black so base a
hue?"(4.2.74). Aaron is not only reacting to the nurse's racial intolerance, but responding to the way he's been treated his whole life by the Romans
and Goths as a black man. It is likely the majority of the treacherous acts he commits in the play spur from deep resentment towards the way he has
been treated by people like the Andronici family. He feels they deserve the pain he inflicts and feels no shame in the harm he

William Shakespeare's Titus Andronicus Essay
William Shakespeare's Titus Andronicus
Titus transforms into a character of carnival in Shakespeare's "Titus Andronicus." Carnival is a concept described by Michael Bristol in his paper
"Funeral Bak'd–Meats." In the paper, Bristol describes carnival as a period before the beginning Lent in early modern Europe, characterized by
"hedonistic excess and transgression." (Bristol 351) Carnival characters place special emphasis on food, disguise and a reversal of the social order or
"uncrowning." The lower classes usually celebrate Carnival and they dismiss rules or decorum. Carnival celebrates the body and practical issues of
daily "production and reproduction," rejecting official culture. Carnivalesque behavior includes using disguises,...show more content...
And there is something dark about Rome when Titus enters in the opening scene. It's nighttime. Titus is in the dark–literally and figuratively–for the
first two scenes. Titus comes home unaware of the corruption that he will face. The coliseum where he speaks proudly of sacrifice and heroism is
old and worn down. There is cheering, but there is no crowd present, making the cheering sound artificial as if it were being played through a
loudspeaker to make up for a public that is too disillusioned or too desperate to care. (Taymor 06:48:28)
Even without the crowd, Titus's behavior in the coliseum expresses authority. His voice echoes forcefully. He speaks the language of power–patriotism,
bravery and religious ritual. Titus does not equivocate. At the beginning of the play, Titus reacts as if problems are black and white. When Mutius
dishonors Titus by defending his brother and sister, Titus simply kills him. He asks Mutius right before killing him, "Barr'st me my way in Rome?"
as if Titus was most offended by Mutius's attempt to control his power in Rome. (1.1.295) He calls his other sons traitors for defending Lavinia.
Stability, social class and honor are most important for Titus. Unlike carnival, which espouses creativity and new ideas, Titus is bound to ritual and
rules. It is how he justifies sacrificing Tamora's eldest son and it is the reason he

In William Shakespeare's play, Titus Andronicus, the main character Titus Andronicus is a perfect example of the never
–ending cycle of vengeance.
Throughout the play, Titus and Tamora seek resolution and closure through revenge. Throughout the play, these characters do not realize the resolution
to their war over vengeance is making peace. When one person chooses to get back at the other this creates a never–ending loop of revenge or topping
one another's conflict. The key to success in this situation would be for one to make peace, and in this play you will discover how these characters
brought closure to their cycle of never–ending vengeance. In the play, the audience is shown how vengeance controls one's perspective. In other
words, vengeance can impact and skew ones view on life and negatively impair one's decisions. The audience understands from the beginning of the
play how Tamora's positive and sympathetic character is very evident; although, in Act II, her mind and actions has been dramatically skewed and
twisted. Tamora's attitude has been overcome by vengeance as she says, "But straight they told me they would bind me here Unto the body of a
dismal yew, And leave me to this miserable death: And then they call 'd me foul adulteress, Lascivious Goth, and all the bitterest terms That ever ear
did hear to such effect: And, had you not by wondrous fortune come, This vengeance on me had they executed. Revenge it, as you love your life, Or
be ye not henceforth call 'd my

Imagery In Titus Andronicus
The imagery that is shown in the play Titus Andronicus is beautiful but deadly and explicit. The text in the play often describes bloody and explicit
stage imagery that would give an overall explicit visual experience to the audience. This explicit visual image was also witnessed by the many readers
that studied only the play. While reading the play, I had noticed that the imagery of dismemberment among the characters in the play was widely
noticed. This imagery was consistent among the different scenes throughout the play. The most significance scene that contained this element of
dismemberment was in the 4th scene from the 2nd Act. This scene starts with stage directions of having Lavinia with her tongue and hands cut off. It is
interesting

Racism In Titus Andronicus
Race is abundant in Titus Andronicus. Aaron is a Moor from Northern Africa, making him one of Shakespeare's first main character of color. Even
though the term racism wasn't created until 1902 (Demby), through Aaron the audience gets a glimpse of how people were racially treated in the
Elizabethan Era. Shakespeare uses metaphors and figures throughout his plays to give the reader and audience a further understanding of the story he is
telling. In Metaphors We Live By, it is stated that "...Metaphorical expressions in everyday language can give us insight into the metaphorical nature of
concepts that structure our everyday activities..." (Lakoff & Johnson 7). Through these conceits Shakespeare expands a normal idea and transforms it
into...show more content...
Because of the son's hue, he was thought of as a "devil" (IV.II.64). Even though he came from royal blood he is referred to by the Nurse as "A
joyless, black, and sorrowful issue. Here is the babe as loathsome as a toad." (IV.II.66). This innocent baby was deemed an unpleasant issue because
of his black hue. But his hue is hiding the fact that he actually is half white from his mother Tamora. Saturninus previously referred to Tamora as "A
goodly lady, trust me, of the hue." (I.I.261). If Tamora is considered "goodly" because of her hue, what makes her child any different? This figure of
the child's hue would operate differently if he was born lighter. With lighter skin, he would not face prejudice from nurses, death threats from Chiron,
and Tamora's wish for him to be dead. The figure of hue is frequently repeated in negative connotation to Aaron. As a rebuttal, he states "Coal
–black is
better than another hue, in that it scorns to bear another hue." (II.III.99). This figure is highlighting that black is better than any other skin color
because it cannot change to another. Any other hue cannot contaminate the richness of something that is coal–black. In an alternate operation, this
situation is very different. When Tamora and Aaron are caught in the woods by Bassianus he tells Tamora "Believe me, queen, your swarthy
Cimmerian doth make your honour of his body's hue, spotted,

Race in Othello and Titus Andronicus Essay
Race in Othello and Titus Andronicus
Within both Titus Andronicus and Othello both by William Shakespeare the reader is introduced to the concept of a black man within a white society.
Stigmas and stereotypes are attached to the black characters of Aaron and Othello. Although each black character has a similar stigma, the characters
are very different from one another. Aaron is portrayed as evil, conniving and malevolent, while Othello has none of these traits. Othello's fault lies in
the fact that he is very gullible and easily led.
Aaron within Titus Andronicus is a character that is both bound and not bound to his colour. Though his actions can be "blamed" on his colour, there
are two paths to follow in this...show more content...
His is the stereotypical black Devil form within Elizabethan literature. The pleasure Aaron takes parallels the pleasure the Devil gets in seeing
humans suffer. Aaron proclaims his delight in the trouble he causes with an aside to himself and the audience "O how villainy / Doth fat me with
the thoughts of it! / Let fools do good, and fair men call for grace: / Aaron will have his soul black like his face" (TA III.i.201
–204). Aaron gets deep
satisfaction and pleasure from the torture of others.
Aaron himself acknowledges his anger and his hate towards those around him (Incidentally those around him are all white). The only individual
with whom he takes complete trust and compassion is his own child who is as black as he is. Up until his child has been born he has no allies and
certainly no friends. He has been good enough to be Tamora's lover, a teacher to her children and a quiet part within the court but he has not been
good enough to technically be raised above the station of a slave or servant. It is also ironic to point out the concept of family and colour. Both Titus
and Tamora are white people yet their treatment of their own children leaves something to be desired. Titus himself follows the rules and codes of
Rome without fail, though his parenting skills are much to be desired. However Aaron who never keeps his word to anyone else (save himself), causes
deaths, rapes and

Titus Andronicus Play
Titus Andronicus is based on actual events that took place between the third and fifth centuries when the Roman Empire was on a steady path of
decline due to the growing threat by Germanic tribes (__). This play is set in Rome, Italy following the successful defeat of the Goths. Act One begins
with two sons of the former Roman Emperor – Saturninus and Bassianus – asking the citizens of Rome to determine who should succeed their father's
throne. However, neither of the two sons end up getting the throne as Titus Andronicus is elected Emperor but politely declines. Instead, the tile of
Emperor goes to Saturninus. Trailing behind is Tamara, Queen of the Goths and her three sons. Tamara is named the new empresses by Saturninus.
Titus Andronicus

Titus Andronicus
From the beginning of Titus Andronicus we are thrust into Shakespeare's idiosyncratic form of reality, a place where things are slightly out of place,
maybe a little out of touch. When any writer creates such a reality, some room to be more dramatic or creative is formed, this allows things out of the
ordinary suddenly become ordinary. This simulacrum of reality is essential to Shakespeare's work; however, inTitus Andronicus it functions in a
slightly altered way, allowing a dark humor to be found in some of the play's most tragic moments–so much so, that to call the play simply a tragedy
becomes unjust. Structurally, the work is tragic, one that pushes moral boundaries and leaves us uncomfortable, but on another level the work delves
into...show more content...
The interaction between Aaron and Lucius shares the same playful–yet–dark tone seen in other parts of the play. Act 5, scene 1, is not inherently comic
by itself, but when considered with the rest of the play, it shares a certain comic element. More importantly, their "game" leads into, essentially, the
last comic part of the play between Tamora and Titus. For a first time reader or viewer of Titus Andronicus, it appears Titus does not know it is
Tamora, Chiron, and Demetrius disguised. For the brief moment before one can make sense of what Titus is up to, the scene is inherently funny.
When Tamora says "Know, thou sad man, I am not Tamora. / She is thy enemy, and I thy friend," one cannot help but feel the nature of the game being
played between these two forces (5.2.28–29). The choice to have her disguised as Revenge is too perfect of a fit considering the rest of the work, and
her character, and is a little disjointing in a tragedy–this leads their interactions to take place comically, almost too light–heartedly, considering what
Titus and Tamora are both planning. This scene, of course, leads into the final movement of the play where the audience learns that nobody has learned
anything, there is no great epiphany anywhere to be found, and the cycle of revenge

Titus Andronicus By William Shakespeare

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Titus Andronicus By William Shakespeare