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Titus. Andronicus by William Shakespeare. Know-the-Show. Audience Guide researched .. language and action, because ritual is the ultimate means by which.
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Justice restores balance, whereas revenge is meant to cause pain and injury to others, whether it be physically or emotionally. The first instance the readers see of this occurs in the very first scene. After returning from battle with Tamora and her sons in tow, Titus states that her eldest son, Alarbus, must be sacrificed 1. At this, Tamora begins to cry, falling to her knees and begging Titus to spare her son 1.

She does not solely want Titus to feel the emotional toll of having a child killed; she also wants him to be physically and quite bloodily harmed, proving that she is after revenge as opposed to justice. This notion of revenge rooted in pain and injury carries through the entire play and therefore can be seen again in the fifth act.

Here, Titus makes Demetrius and Chiron fully aware that he is about to mercilessly murder them. He is not only carrying out this revenge to make amends for the crimes committed against Lavinia but also specifically to cause them pain.


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Having them imprisoned and punished is not enough; he wants to see them in physical pain and ultimately death, a want that only revenge can provide. Justice is achieved through logic and reason, whereas revenge is driven purely by emotion. In many tragedies, characters are motivated purely by emotion, and Titus Andronicus is not an exception. Throughout the entire play, the characters, especially Tamora and Titus, act on emotion and impulses, not logic and rationality.

After she enters, Titus immediately recognizes it is Tamora; however, she attempts to ease his alarm: I am not Tamora. She is thy enemy, and I thy friend. In this scene it becomes apparent that in order to get revenge on Titus, Tamora completely disregards any logic and reason and relies solely on her main emotion: anger.


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However, it is not only Tamora who is driven by emotion when attempting to get revenge. When Titus finally gets Demetrius and Chiron alone, he begins plotting his revenge on both them for raping and mutilating Lavinia and on their mother for killing Quintus and Martius, two of his many sons.

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This is the feast that I have bid her to And this the banquet she shall surfeit on 5. In this excerpt, Titus explains that in order to exact his revenge, he is going to kill and bake Demetrius and Chiron and serve them to their mother. Logic and reason cannot be found anywhere in this plot for revenge; it is driven entirely by emotion.

There is no logical reason why two men should be killed, baked into pastries, and served to their mother, no matter what wrongdoing or how much pain they caused. After delivering these final lines, Titus stabs Tamora, which inevitably leads her husband, Saturninus, to stab and kill him.

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Titus has faced so much death and tragedy throughout the course of this play, by the final act he is no longer acting in accordance with logic and reason but instead is relying on his emotions and impulses, leading to his death and culminating in revenge, not justice. Justice is neural and impartial, whereas revenge is driven by egocentrism. When one strives to obtain justice, he or she is not motivated by any outside force; the main goal is to restore balance.

However, revenge is almost always driven through self-interest and self-satisfaction, as it is for both Tamora and Titus. The first example of this facet of revenge can be seen in Act One when Tamora is delivering her aside to her husband, Saturninus. Tamora wants revenge for the sacrifice of her son, Alarbus; however, she also wants revenge due to the fact that Titus subjects her to public humiliation.

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She was once a powerful queen but is now being forced to beg and plead. After his entire monologue detailing how Demetrius and Chiron harmed his daughter, Titus utters these two lines, and it becomes readily apparent that he wants revenge for himself. Justice leads to closure, whereas revenge leads to a never-ending cycle of more revenge. This is the ultimate reason that Titus Andronicus is a revenge tragedy, as opposed to a story of justice. After this sacrifice, Tamora wants revenge on Titus and his family not only for killing her son but also for subjecting her to public humiliation 1.

This plan works and Quintus and Martius are sent to await execution 2. This all sounds very mechanical and recurrent but serves a purpose in illustrating the repetitive essence inherent in revenge. The play begins with one death, the sacrifice of Alarbus, and ultimately culminates in a grand total of fourteen deaths, nearly all due to the cyclical nature of revenge. Revenge and justice are terms often used interchangeably; however, by analyzing why and how each is achieved, it becomes apparent that they are conflicting ideas.

Justice is balanced, logical, neutral, and definite; Revenge is harmful, emotional, egocentric, and cyclical. However, close analysis of the differences between revenge and justice and the characters of Tamora and Titus, Titus Andronicus becomes a true revenge tragedy, rooted in vengeance and retaliation as opposed to justice. In addition, both plays have strangely warped timelines and duration, which, although quite possibly mere coincidence, also contributes to the othering of Aaron and Othello. Both Aaron and the other characters in the play constantly call attention to skin color, but in Othello, Iago is the instigator of nearly all racial language Bartels The lewdness of his lines here are typical of his racially charged depiction as a scheming villain, almost cartoonish to a modern audience.

Titus Andronicus is a play concerned with subverting sympathies and uprooting normalcy, but in its depiction of Aaron, it firmly cements a racial stereotype Bartels Barbarity is far less racially cut-and-dry in Othello. Far from a barbarous figure, Othello is educated and worldly, and woos Desdemona with tales of his travels.

This is not a picture of a barbarous man, but Iago in his jealousy associates him with a devil 2. Although similar to or perhaps simply a subcategory of barbarism, animalism is a separate trait associated with Moorish characters in both Othello and Titus Andronicus, and the language of animal traits merits a separate examination.

The animalistic language used in both plays is more similar than that of barbarism, but is still distinct. Despite this omission, the language of animalism is present elsewhere.

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The language of bestial traits, like that of barbarism in Othello, is largely found in the mouth of Iago, and typically in private or in asides. Iago, of course, utters both of these epithets. Although Othello is perhaps more concerned with issues of sexuality and masculinity, as suspicions of adultery drive the plot, such issues are also present in Titus Andronicus. Unlike Othello, who is convinced he is a cuckold, Aaron does the cuckolding in Titus. Tamora, with whom Aaron conducts an adulterous affair, compares their illicit romance to that of Dido and Aeneas.

Although Aaron has henceforth had little regard for human life, he murders the nurse and presumably the midwife to protect the life of his illegitimate child 4. In a turn somewhat incongruous with his previous characterization, Aaron spends the final act of the play carrying his infant son. In Titus Andronicus, he who cuckolds the emperor is in turn feminized by the result of his own adultery, his child. Masculinity is, as with many of these traits, much more complex in Othello. Sexuality, and by extension masculinity, in Othello is an issue of power, just as race is also an issue of power Bartels Masculinity, it appears, is a toxic cycle.

Iago perceives a threat to his masculinity and power and in turn convinces both Brabanzio and Othello of threats to their power, Brabanzio of the threat to his daughter and Othello that to his wife. Literally speaking, the events of the play take place in a matter of days and Othello murders his wife less than a week after their marriage, but he also accuses her of a long-standing affair with Cassio, which is impossible Similarly, the time frame of Titus Andronicus is ambiguous.

Supposedly, Titus returns from the Gothic war with Tamora and Aaron in tow and in the same day Tamora marries Saturninus, becoming empress. The action of this next day includes the murders of Bassianus, Quintus, and Martius, as well as the rape and mutilation of Lavinia. There is no indication that Tamora is pregnant prior to this scene, and yet the child is born seemingly a few days later 4. The simplest explanation would be that there is a large jump in time from Act 3, Scene 1 to Act 3, Scene 2, but it would make little sense for the action of this and later scenes to take place conveniently nine months later.

This is a fairly simple concept, one that would not likely take nine months to come to mind. Through the interaction of his Moorish characters, Aaron of Titus Andronicus and Othello, with issues of barbarity, animalistic language, sex and masculinity, and temporality, Shakespeare depicts two characters that, although they are the same race, are very differently othered in their respective plays.

Both characters stand outside of the power structures driving the plots of their respective plays, but are set apart from these power structures in different ways. In Titus, Aaron is more directly characterized as an ugly Moorish stereotype, set apart from the very beginning of the play and remaining apart throughout. He begins the play as a traditionally masculine figure but ends it as a caricature of a feminine mother figure holding an infant, separating him from what little power he has.

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Although Othello is a much more complex and well-known work, comparison to Titus Andronicus is valuable in showing the relative nuance with which Othello is depicted compared to Aaron. By modern standards, of course, both plays are incredibly racially insensitive, but Othello treats its Moorish character with more finesse than a modern audience would have cause to expect based on the precedent set by Titus Andronicus.

Bartels, Emily C.