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titus andronicus critical essays
titus andronicus critical essays
titus andronicus critical essays
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Titus Andronicus has had a fair share of mixed reviews over the last centuries but has still remained a work of fascinating symbolism as well as a violent, poetic story. The story was meant to entertain the lower classes of England at the time who enjoyed such activities as bear baiting, where a bear would have its claws and teeth pulled out before being tied to a post where savage pitt-bulls would bite it to death (White). The people of sixteenth century England were also very accustomed to public hangings and torturous punishments. Colin Burrow, a researcher of early Tudor literature, noted that, "Cruelty is part of Shakespeare's World and it generates a high proportion of the energy into his drama." (Smith 4). When the play was first published, it received exceptional reviews, but later it was spat on as one of the most disgustingly violent and worse written Shakespeare play. How did the reviews turn so sour so quickly? The culture at the time had the most to do with it. With such violent epics such as The Godfather, Scarface, Natural Born Killers, and Pulp Fiction, it is no wonder that Titus Andronicus has once again revealed itself to the masses as an entertaining piece of work. The idolization of violent entertainment in recent years is the reason for the increase of appeal towards Shakespeare's play Titus Andronicus.
The reviews of this play from the 1930's show us that most people did not like violent literature. It was around this time that America fell into the Depression. Reading Titus probably did not amuse them because of the heavy burden of poverty. In 1934 T.S. Eliot dismissed the play as "one of the stupidest and most uninspired plays ever." If only he had known that stupidest wasn't a word, he probably would'...
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...r the raping of Lavinia, Titus kills Tamora's sons, bakes them into a pastry, and serves it back unto Tamora's stomach, where they came from. Titus also kills her after letting her know that she ate her two remaining sons, so for this Saturninus, in a fit of rage, murders Titus. To top it off, to avenge his father, Lucius kills the Emperor, Saturninus. "Revenge has the final grim chuckle, having wracked havoc on fractured human psyches and the Roman state." (Smith 32).
Works Cited
Smith, Henry. Shakesphere's Tragedies. New York: Mcgraw-Hill, 1984.
Nightingale, Joesph. Symbolism in Shakesphere. Boston: Delmar, 1995.
Shakesphere, William. Titus Andronicus. England, 1596.
White, Janet. "From the Gallows to the Stage." 6/17/99. Ebsco host. Accessed at HCC lib., MA. 12/03/04.
Titus. Julie Taymor, Jody Patton, Shakesphere. VHS. Fox Searchlights, 2000
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...
The reader is introduced to an insight of Titus Andronicus’ cruel nature, after he ignores Tamora’s cry to have her first-born son saved from his sacrifice to revenge the lives of his sons that her Goth people took. This new interpretation of Titus as a ruthless murderer heavily contradicts the reader’s first impression of Titus that Marcus gave the reader. Marcus initially leads the reader to except that Titus is good and honorable man. Titus’ sudden act of violence makes the reader realizes that he has two sides to his character: the relentless warrior and the beloved hero. However as the play unfolds, an individual can realize that everything that occurs throughout the play is connected to the initial sacrifice. It is evident that Titus’ character goes through many changes, the not one but many sides of his personality are revealed.
While Romulus is credited for exemplifying many of Rome;’s fundamental values, his reign over Rome is one that is infamous for its abundant bloodshed, violence against Rome’s neighbouring cities and demonstrations of his accumulated power. In comparison to Romulus’ rule, King Numa Pompilius reign is filled with undisturbed peace and coexistence in Rome and its neighbouring communities. Romulus often resorts to utilizing methods like violence or deceit to achieve his aspirations for the glory of Rome. One of the very first of Romulus’ acts of violence “to obtain sole power” (Livy 37) is to brutally murder his own twin brother, Remus in an angry fit of rage. The murder of Remus is a reflection of Romulus’ violent, ruthless nature and demonstrates the drastic measures he will go to achieve ultimate power. “To increase the dignity and impressiveness of his [ki...
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.
...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.
Shakespeare, William. "Titus Andronicus" The Norton Shakespeare. Ed. Stanley Wells & |Gary Taylor. New York/London, W.W. Norton Company,1997. 371-434
‘Titus Andronicus ‘is a play by William Shakespeare that went to become very popular during his time. The play was performed in Rome after the defeat of the Goths by the Romans. The Goths were people from German who invaded their country. Throughout the play, violence can be seen inform of brutal murders, sexual violence and mutilation, suicide, wars and conflicts. This is normally heightened by the urge of the characters to revenge. Examples of such cases include: the raping and mutilation of Lavinia, Titus’s daughter and the killing of Alarbus. Shakespeare presents stage violence that makes the audience concentrate and understand in a better way.
In the play, both Tamora and Titus Andronicus hold power when they are able deceive each other. For most part of the play, Tamora uses her vulnerability as a woman to uphold his power in the empire. She appears to subordinates herself to the emperor Saturnitus as she agrees to marry the emperor. However, she only agrees to the marriage in order to become the empress of Rome and to hold the greatest power that one could ever have in Rome to avenge her son’s death. In addition, she plays the part of a generous woman to deceive her enemies and Saturnitus and make them believe that she is capable to forgive Titus Andronicus. However, she plans on executing her revenge upon Titus Andronicus by making him suffer the loss of his family. “Nay, nay sweet emperor, we must all be friends. The tribune and his nephews kneel for grace. I will not be denied.” (Mowat and Westine 43). In this passage, the empress hides her true motivates: to make Titus suffer behind words such as “sweet emperor” and “friends”. She also appears to need the emperor’s permission to forgive their enemy. Yet, the empress clearly tells the emperor “I will not be denied” (Mowar and Westine 43), which demonstrates that emperor obeys her and she is the one in power. To convince her sons to rape Titus’ daughter, Lavinia, she also uses words such as “I poured
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.
Baz Lurhmann’s creation of the film Romeo and Juliet has shown that today’s audience can still understand and appreciate William Shakespeare. Typically, when a modern audience think of Shakespeare, they immediately think it will be boring, yet Lurhmann successfully rejuvenates Romeo and Juliet. In his film production he uses a number of different cinematic techniques, costumes and a formidably enjoyable soundtrack; yet changes not one word from Shakespeare’s original play, thus making it appeal to a modern audience.
In Sarah Kane's Blasted, a woman and a man are raped on stage, eyeballs and dead babies are consumed and a man shoots himself through the head. In Edward Bond's Lear, several men and women are shot, a man is severly beaten and another is blinded, and the body of a woman is disected on stage. Both Kane and Bond claim that the use of violence on stage is vital for the message they want to get across. Harold Pinter, however, seems to deliver the same message by referring to violence without actually displaying it on stage. By looking at the authors' reasons for staging violence, questioning the effect on the play's audience and the plausability and necessity of the violent acts on stage, it can be said that the portrayal of physical violence on stage is a hallmark of shallow melodrama, gratuitously pandering to the sensationalism of the audience.
Through the reading several connections were made, by way of examples, of how Shakespeare used violence to add to the mood or idea he wanted to bring to his audience. In reviewing Shakespeare’s work, are we can find that at one time or another the use of warfare, murder, suicide, rape, mutilation, and or canabolism were all used as a main ideas. The trouble is that while we can only speculate the reasons from the use of this violence, we will never know the full purpose Shakespeare had in mind when writing. There are, however, several conclusions to be pondered. One ideas is that Shakespeare was simply writing to fit the attitudes of his time. People of his time thought of woman and the poor as less than, so Shakespeare wrote them as such. He could take the idea of stereotypical behaviors, and play them to extreme measures. Another conclusion is that he would use violence as a form of empowerment of the weak, against the strong, in the way of political violence and intolerance.
William Shakespeare was born in Stratford-upon-Avon in the time of Elizabeth I. Romeo & Juliet is one of his most famous plays and has always been extremely popular in mainstream and in contemporary media, mainly because the ideals and issues brought up in the play are still very valid in modern times. The play revolves around the, aptly named, Romeo & Juliet and their forbidden love and their struggle to love one another with each others families, Capulets and Montagues, feuding with each other, underneath the romanticism it is a story of a plan going wrong. I am going to analyse and interpret how two very contrasting things; love and violence relate to each other in the play, the effect they have on the characters and the events that unfold.
Countless people all around the world are familiar with the idea of the famously tragic tale of two star-crossed lovers in William Shakespeare’s play, Romeo and Juliet. Their heart wrenching love story has been an inspiration for many literature pieces throughout various genres and later cinematic works of art. The young couple was not only memorable for their passionate, devoted love, but also the tragic events that ultimately lead to their death. One aspect of the play that has a strong impact on the audience is Shakespeare’s use of charismatic and compelling language seen throughout the play. The unique personality traits used to describe Romeo and Juliet allows many to relate to the young lovers. Shakespeare’s use of descriptive language, allows the audience to understand the societal expectations, beliefs, and values set out for the men and women of Verona, Italy. Romeo’s character, however, can be been seen defying these expectations and also
While the brutal quest for vengeance drives Kyd's play, justice is ultimately its main thematic concern: what is it, who has the right to administer it, and is any sacrifice too great for its final attainment? (Hunter, 217) Central to these questions is the pair of hangings that occur in the middle acts of the play. Poisenings and stabbings happen throughout the piece but hanging was revloutionary. Hanging, decapitation, and burning at the stake was forbidden to be shown in a play. The reason for this is simple: the use of the official methods of execution as part of an entertainment would rob those methods of their value as deterrent to crime. (Shapiro, 100) The same argument is made today over the desensitization to violence caused by television. The Spanish Tragedy is unique in its onstage use of hanging as a device of murder.