One of William Shakespeare’s most overlooked and yet most powerful work is Titus Andronicus. It has not been The Bard’s most popular play; however, in his time it was immensely popular.
Many people see this play as a violent, bloody story
where there really are no winners; these things may be true. Many also see it
as a play that is extremely male-driven and ruthless toward women—again true.
Nevertheless,
I see it somewhat different. I see it as a play that is female-driven and while
the women suffer, they are the driving force in every aspect that matters.
This may be a boring read to some, but to lovers of
Shakespeare’s literature, it may make you think differently about the most controversial
text of one of the world’s greatest writers.
Titus Andronicus: A Woman’s Tale
“Crede ratem ventis, animum ne crede puellis; namquĂ© est
feminea tutior unda fide¾Trust
your ship to the winds, not your heart to the girls; waves are safer than
women” (Pentadius 550).
Murder, sacrifice, rape, disfigurement, and
revenge all these words aptly describe Shakespeare’s Titus Andronicus.
It is often overlooked as too graphically violent and less complicated than the
Bard’s earlier works to be of real consideration and often is cast as simply an
overtly bloody play of a developing genius. Many critics oversimplify the plot
as a testosterone-fueled revenge and murder story. Titus Andronicus is
filled with disturbing images and horrific violence. It is brimming with
betrayal, deceit, and acts that are not easily stomached. Titus Andronicus has
been viewed, labeled, and categorized as a violent tragedy dominated and driven
by the theme of revenge. Titus
Andronicus is much more¾in fact,
it is a play fiercely driven by the influences and power of two women: Lavinia
and Tamora. Titus Andronicus is a play about women, their vulnerability,
their adaptability, and their eventual victory over the obstacles within the
context of a male dominated society. It is in reality a play driven by
women and their (perceived) physical weakness, and their (real) intrinsic power
and influence.
Titus Andronicus begins with Titus’
triumphal entry into Rome with his Goth prisoners. He has been at war for a
decade and returns with the bodies of his 21 dead sons, and his 4 living ones.
He is greeted by the heir to the throne, Saturninus and his brother
Bassianus. Between these two brothers,
there is a developing power vacuum with the recent death of the emperor. Titus
is a tired old warrior held together by duty and his societal position. He and
his remaining sons plan to sacrifice the eldest son of Tamora, the captured
Goth Queen. The surface theme and plot of the play is revenge. It seems as if
Titus initiates this with his sacrifice of Tamora’s son. However, Tamora sets
the underlying and deeper theme of feminine power, weakness, and influence.
Tamora pleads with Titus for the life
of her son, “Stay, Roman brethren! Gracious conqueror / Victorious Titus, rue
the tears I shed / A mother’s tears in passion for her son / And if thy sons
were ever dear to thee / O, think my son to be as dear to me!” (Act 1, Scene
1). Tamora uses the first of her weapons¾matriarchal
influence. She appeals first to Titus with her tears for pity; when that fails
she uses logic based upon her position as a parent. She appeals to Titus as one
parent to another, but this is ineffective. Titus casts away her request and
thus begins a series of shocking events that are unmatched in literature.
It is true that Titus holds the power
whether to kill or not to kill Tamora’s son; however, it is Tamora that opens
the door for a festering revenge to take hold. Titus sacrifices her son as an
act of duty and appeasement to the Roman gods. His action, while lacking mercy,
is at least condoned and even expected within the context of his culture.
Tamora acts in a very natural way as she tries to gain some sort of empathy
from Titus; when this fails, she steps away from the role of pleading female
and into the role of active avenger.
Titus’ sacrifice of Tamora’s son in
defiance to her pleading initiates the terrible revenge machine within Tamora.
She rages at Titus, “O cruel, irreligious piety! /” and her two surviving sons,
knowing their mother, foretell events soon to come, “Was ever Sythia half so
barbarous? / …To tremble under Titus’ threatening looks / Then, madam, stand
resolved, but hope withal /…With opportunity of sharp revenge /… To quit the
bloody wrongs upon her foes” (Act 1, Scene 1). Titus seemingly begins the
revenge plot by action, and it is Tamora who appears to be in a position of
weakness as a woman, captive queen, and mother. Tamora, however begins the
revenge plot, and thus becomes the catalyst of the story. If she accepts that
she is a helpless woman and tries only to make the best of her captivity, the
story remains in the hands of Titus or more likely focuses on the political
struggles within the empire. However, because of her choice she is the
catalyst, but one that changes and develops as events unfold.
The true character of Titus is only
revealed through Tamora. His character is developed and established in the
minds of the reader by his unyielding nature and adherence to protocol. We
discover this because of his disregard for Tamora’s pleadings. That he follows
the letter of the law and can be without mercy is evident. This revelation is
not possible without Tamora. She not only begins the revenge plot, but she is
also a window into the true nature of Titus.
The people desire Titus to take the
throne, but he chooses to acquiesce to Saturninus’ claim. He knows if he
accepted the throne it would mean civil war. In yielding to Saturninus, the
first born of the deceased emperor, he aligns himself and his family with the
logical choice for succession. Saturninus announces that he will honor Titus by
marrying his daughter Lavinia, “I will give thee thanks in part of thy deserts
/ …And, for an onset, Titus, to advance / Thy name and honorable family, /
Lavinia will I make my empress, / Rome’s royal mistress, mistress of my heart,
/ And in the sacred Pantheon her espouse: / Tell me, Andronicus, doth this
motion please thee?” (Act 1, Scene 1). Titus responds quickly, “It doth, my
worthy lord; and in this match / I hold me highly honor’d of your grace” (Act
1, Scene 1). Lavinia was already betrothed to Bassianus, the brother of
Saturninus; this easy acceptance of the new emperor’s terms is demonstrative of
the use of women by their fathers or guardians as a commodity.
Titus’ willingness to allow the new
emperor to wed his daughter is a typical example of the use of young women as a
type of vestal product. Lavinia was betrothed to Bassianus almost certainly
through negotiations between Titus and the former emperor. When Saturninus
becomes emperor fortune favors the Andronicus family. If Lavinia becomes empress
rather than simply wife to a prince, the family rises in influence and power.
This would seem to make Lavinia nothing more than a swappable thing at the
mercy of the men that hold worldly power over her.
This is not entirely true. The
greatest power that women wield is in their virginal value. Even though women
were used as pawns, they are the ones that held the greatest power. That power
was contingent upon two things: bloodline and virginity. Throughout history
this has been true and in different degrees is at times true even today.
Coppelia Kahn, Professor of English at Brown University writes in her book Roman
Shakespeare: Warriors, Wounds, and Women, “For Titus, Lavinia’s worth
resides in her exchange value as a virginal daughter. In a larger sense, she is
symbolically important to Roman patriarchy as an emblem…of ‘sacred chastity’”
(Kahn 49). It is the Roman patriarchy that in essence controls the woman, but
it is the women who ultimately own the power. The men often control how the
metaphorical gun is used¾it is
the women that are that gun, thus they are the literal power.
Bassianus with the aid of Titus’ sons
flee with Lavinia. This is an act of disobedience to both the emperor and to
Titus. This bold act that is aided by Lavinia’s brothers implies there is real
affection between Bassianus and Lavinia. Their betrothal was most likely a
previously agreed upon arrangement between Titus and the former emperor. The
assistance of the brothers may be seen as sibling loyalty, but could also be an
indication of a political/personal connection between Bassianus and themselves.
During the escape Titus kills one of
his own sons. In fact, Titus’ ambition is obvious when he yells at his son
Mutius just before he kills him, “What, villain boy! Barr’st me my way in
Rome?” (Act 1, Scene 1). He then calls for his eldest surviving son Lucius to
bring Lavinia back to the emperor. Lucius proclaims, “Dead, if you will: but
not to be his wife, / That is another’s lawful promised love” (Act 1, Scene 1).
To Titus, Lavinia’s value rests with her virginity and the act of disobedience
to him (and the emperor) is an act of treason. The failure to deliver Lavinia
as the vestal commodity that she is intended to be, is in direct rebellion with
what Titus sees as his and her duty. His sons act as accomplices and Saturninus
uses this as an opportunity to forge a political alliance with the Goths by
marrying Tamora. Shakespeare scholar Sara Eaton wrote in her essay “A Woman of
Letters: Lavinia in Titus Andronicus”
…Bassianus and Saturninus with Titus
competing to be emperor, to its close, when Lucius does the same. Creating
among themselves the condition for ‘headless’ social chaos, the men are in
ceaseless competition for honors, from marriage to proper burials, and their
exchanged women are in this sense a sign of their agnostic struggle. Their
rivalry is gendered and imagined as a war or regeneration between matriarchal
and patriarchal would-be rulers, between Tamora’s and Titus’ families. (Eaton 64-65)
When Bassianus takes Lavinia away he has taken more than
Titus’ daughter, he has taken her value to him as a bargaining article, and if
Bassianus and Lavinia consummate, her value (to Titus) is lost as a vestal
commodity. In becoming the commodity, she also becomes the article of power.
Tamora rises to political power
almost immediately with her marriage to Saturninus. She begins to cultivate her
plans for vengeance With this new found freedom to move around the royal court
without concern, her lover Aaron manipulates Tamora’s already barbaric and
lustful sons. Tamora exhibits another aspect of her power: the use of sex and
relationship as a weapon of manipulation. After Aaron proudly tells Tamora of
his success in the manipulation of her sons in their plan to kill Bassianus and
defile Lavinia, she reinforces her power with words of affection and gratitude,
“Ah, my sweet Moor, sweeter to me than life!” (Act 2, Scene 3). The effects of
Tamora’s dark influence and terrible
will are just beginning to manifest.
In the forest, a place symbolic for
darkness and hidden things, Tamora and her sons come upon Lavinia and
Bassianus. She directs her sons through her matriarchal power to kill
Bassianus. Tamora’s son Demetrius complies with his mother’s wishes. He also
understands the significance of rendering Lavinia defiled is in effect an act
upon Titus. It not only hurts him as a father, but also renders Lavinia
worthless as a vestal product. Demetrius says, “Stay madam; there is more here
belongs to her; / First thrash the corn, then after burn the straw: / This
minion stood upon her chastity, / Upon her nuptial vow, her loyalty” (Act 2,
Scene 3). The reference of “thrashing corn” and “burning straw” are powerful
metaphors for Lavinia’s multiple value and her soon to be torment. Chiron joins
in, “Drag hence her husband to some secret hole, / And make his dead trunk a
pillow to our lust” (Act 2, Scene 3). The vitriol of the sons of Tamora’s womb
is terrible indeed. Tamora, always the cunning designer tells her sons, “But
when ye have the honey ye desire / Let not this wasp outlive, us both to sting”
(Act 2, Scene 3). Tamora is flexing her matriarchal muscle to make certain the
foul deed is accomplished..
In a stirring scene Lavinia and
Tamora are for a moment in a role reversal. Lavinia pleads with Tamora for
mercy much as Tamora did with Titus at the beginning of the play. But this is
not a story about mercy. Tamora replies coldly, “Hadst thou in person ne’er
offended me, / Even for his sake am I pitiless. / Remember, boys, I pour’d
forth tears in vain, / To save your brother from the sacrifice; / But fierce
Andronicus would not relent; / Therefore, away with her, and use her as you
will, / The worse to her, the better loved of me” (Act 2, Scene 3). At this
moment Tamora holds all the power in the story¾power
over Lavinia, her sons, Aaron, and even Titus. Tamora is at the peak of her
power; she uses all of her weapons: matriarchal, political, sexual, and
manipulatory; immediately (to Bassianus and Tamora) and by ramification (to
Titus) to achieve her end.
Lavinia is defiled in the worst
possible ways. She is a victim of sexual and procreative warfare. In a chilling
juxtaposition to the way Titus and the Romans invaded and conquered the barbarian
Goths; now the barbarian Goths have conquered invaded the virginal womb of
Rome. They have pillaged an iconic symbol of Rome and inserted a portion of
their barbaric selves inside the vessel of the empire¾her womb. They (under Tamora’s direction) have repaid
Titus in kind. She has been sacrificed, subjected, and invaded/colonized.
Tamora has allegorically leveled from her perspective, the balance of power
with the Roman empire, of whom Lavinia is representative. She has, with her
armies (her sons and Aaron) defeated Rome (Lavinia), fettered her, and
colonized her with the blood (semen) of her race.
Lavinia’s dismemberment and the cutting out of
her tongue are literally effective in the minds of Tamora’s sons, as they believe
she will now be without the ability to identify her assailants; however, on a
symbolic level it is even more profound. The loss of her tongue and hands
eliminate not only her ability to communicate, but also steals her personality
and changes her identity. She has not only been devalued by the rape, she has
been rendered impotent by the mutilation. This is retaliation for Titus’
ignoring of Tamora’s pleadings to spare her son. From Tamora’s greatest
weakness she became strong. It is now Lavinia’s turn.
Lavinia is a pitiful creature. She
has lost everything. Gone is her beautiful form, her identity, her virtue, and
her value; she sobs and is at the peak of human weakness. Titus speaks to her,
“Thou map of woe, that thou dost talk in signs! / When thy poor heart beats
with outrageous beating, / Thou canst not strike it to make it still. / Wound
it with sighing girl, kill it with groans;” (Act 3, Scene 2). But just as she
is at the darkest moment; in the abyss of despair and weakness, she too becomes
strong. Her misery and pain fuels Titus to action. Her attempts at
communication, her signs, show her adaptability and strength. When her father
is on the brink of madness, Lavinia is starting to cope and finds a way to
communicate. Lavinia, in defiance of all the things that have happened to her,
refuses to give in. With a vast reservoir of intestinal fortitude she uses the
very stumps and mouth that have been so mutilated and rendered useless, to
write with a staff on the ground, “ O, do ye read, my lord, what she hath writ?
/ ‘Stuprum. Chiron. Demetrius.’” (Act 4, Scene 2). Invaded, devalued, and
stripped of self, Lavinia once again becomes powerful. She has risen above her
trauma and identified her assailants. Only she could have done this. In her
greatest weakness, she has become strong.
Tamora continues to wield her powers
of manipulation with her sons against Titus; however, Titus has a plan of his
own. He captures Demetrius and Chiron and brings them to face Lavinia. Titus
says, “ Come, come, Lavinia; look, thy foes are bound… / This goodly summer
with your winter mix’d / You killed her husband, and for that vile fault / two
of her brothers were condemn’d to death
/ …Both her sweet hands, her tongue, her spotless chastity,” ( Act 5,
Scene 3). As Titus cuts their throats, Lavinia holds the basin that catches
their blood. Where once they took her value by invading her body with their
blood (semen), she now holds with her handless stumps, their respective
life-force and expels their profane invasion. What they once placed inside her,
she has reclaimed and can destroy. Although Titus does the killing, it is
Lavinia that is again the receptacle, but this time on her terms, not theirs.
The basin becomes a mirror of her womb, and what was once forced inside it, now
she controls. Lavinia holds the bowl with the very body parts that were taken
and defiled: her mouth and her stumps. In doing this she rises above the
physical destruction she endured and becomes once again the conqueror.
These actions again demonstrate the
changing and juxtaposing power between Tamora and Lavinia in the play. Sara
Eaton writes, “Tamora and Lavinia are similar ‘changing’ pieces,’ as are their
actions; their images ‘oscillate.’ Tamora’s bloodthirsty words are countered by
the image of Lavinia holding the bowl in her mouth under Chiron’s and
Demetrius’ slit necks.” (Eaton 65). With this act Lavinia becomes victorious
and regains her indomitable feminine power.
With the blood Lavinia received,
Titus prepares for his final act of revenge. Lavinia plays a crucial part in
this, “Receive the blood; and when that they are dead, / Let me go grind their
bones to powder small / And with this hateful liquor temper it; / And in that
paste let their vile heads be baked” (Act 5, Scene 3). Titus dresses as a cook,
and Lavinia is veiled. The pies containing the remains of Demetrius and Chiron
are served to Tamora. Titus asks Saturninus if a girl should live on after
being defiled. When the answer comes as no, Titus exclaims, “A reason mighty,
strong and effectual; / A pattern precedent, and lively warrant, / For me, most
wretched to perform the like. / Die, die, Lavinia, and thy shame with thee;
[Kills Lavinia] And with thy shame, thy father’s sorrow die!” (Act 5, Scene 3).
Lavinia is released from this life, her stolen and transformed identity hidden
from the eyes of a polluted world by the veil she wore as she traveled to the
next.
Lavinia’s death can be viewed from a
few viable perspectives: Titus may have killed her for the shame brought upon
the family Andronici. The revenge and her death atoned for that defilement. By
Roman custom the revenge washed away the family shame; however, she still
needed to die because of the successful invasion of her body by barbarians. The
act was erased, but the uncleanliness remained. Another perspective, is through
defilement Lavinia had lost her value as a useful component within the family
machine, and therefore within the parameters of Roman society. And finally,
hers may have simply been a mercy killing. She had lost everything of value,
she was virtually helpless on a physical level, and her place in society had
been erased. Her death was her release, and Titus’ final sacrifice. In all
cases she remained strong.
In the end, Tamora, Titus, and
Saturninus are all killed. The banquet hall becomes a blood bath, but a bath of
cleansing nonetheless. Marcus speaks to the remaining, “You sad-faced men,
people and sons of Rome, / By uproar, sever’d like a flight of fowl! /
Scatter’d by winds and high tempestuous gusts, / O, let me teach you how to
knit again / This scattered corn into one mutual sheaf / These broken limbs
again into one body;” (Act 5, Scene 3). With the end a new beginning may arise.
The power of Shakespeare is often in
his masterful use of metaphor, allegory, and symbolism. Lavinia and Tamora were
both victims, avengers, and symbols. They both rose and fell in weakness and
strength to become the forces behind Titus Andronicus. Lavinia became
the symbol of Rome herself; she began as the symbol, and became the invaded and
the conquered. Her body and her identity were stolen and colonized by the
barbarian. Tamora was literal and symbolic for the barbarians; she began as
conquered, and became invader and colonizer. She was the general behind the
invasion of Lavinia, and in the end was tricked into ingesting her children.
In a mirror-like way, both Tamora and
Lavinia drove the play. The seed of Tamora was sacrificed and rendered into
nothing, so she used the manifestation of her body (her sons) to replant that
seed within Lavinia (Rome). Lavinia forcibly received that seed, or the blood
of Tamora the barbarian, via her sons. The grinding of Demetrius’ and Chiron’s
bones stole their identity in much the way they stole Lavinia’s. Their blood
and flesh mixed together, baked into the pie, and then eaten by Tamora sends
her invasion back inside of her and thereby nullifies it.
Within the womb of woman life begins.
Men may conquer and rule, but women create and inspire. Men may defile and
kill, but women rise above and become the very symbols of life. Like a wound
pouring with blood or a gore-covered battlefield, Titus Andronicus comes
at us without mercy. It is this very lack of mercy that shapes the women in the
play and forces them to adapt and continually grow stronger. They are the
ghosts within the machine. In a
merciless circle of gaining and waning power, Titus Andronicus is many
things, but mainly it is a woman’s tale.