Titus Andronicus

Titus Andronicus
Study Guide by Course Hero
What's Inside d In Context
j Book Basics ................................................................................................. 1

The Goths and the Roman
d In Context ..................................................................................................... 1
Empire
a Author Biography ..................................................................................... 3
The Roman Empire (27 BCE–1452 CE) began when its leader,
h Characters .................................................................................................. 4
Octavian, was made emperor and took the name Augustus in
k Plot Summary ............................................................................................. 8 27 BCE. Before that time Rome was a republic, where the
people wield power through elected leaders. Its influence grew
c Scene Summaries .................................................................................. 14 as it expanded over more than 400 years, until its territory
spread throughout most of Europe and parts of Asia, Africa,
g Quotes ........................................................................................................ 23
and the Middle East. For hundreds of years the Roman Empire
l Symbols ...................................................................................................... 25 enjoyed unparalleled power. But eventually this great empire
collapsed due in part to the difficulty in ruling such a large
m Themes ...................................................................................................... 26 geographic area, the strain of internal conflicts, and
increasingly poor leadership. Titus Andronicus is set in the
e Suggested Reading .............................................................................. 27 latter years of the Roman Empire, when the seeds of its
decline and fall were already present. Rome's military
engagement with the Goths forms an important political
context for the play, though the events of the play do not have
j Book Basics any basis in historical fact.
AUTHOR The Goths were a Germanic people who may have originated
William Shakespeare in Scandinavia before migrating and settling near the Black
Sea in the 2nd century CE, where they formed extensive
YEARS WRITTEN kingdoms. They were often in conflict with the Romans,
c. 1589–92 frequently invading and raiding Roman-controlled areas during
the late Roman Empire throughout the 3rd century CE. They
GENRE
were considered barbarians—more like wild animals than
Tragedy
humans—by the Romans, an attitude that seems to be echoed
in Shakespeare's portrayal of the vindictive Tamora and her
ABOUT THE TITLE
bloodthirsty lover, Aaron. These two lovers are compared to
The title Titus Andronicus refers to the play's protagonist, Titus
wild animals several times in the play. Lavinia calls Tamora a
Andronicus, who is a general in the Roman army. The action of
"tiger" in Act 2, Scene 3. Lucius calls Aaron a "barbarous Moor"
the play concerns a violent cycle of revenge between Titus
and refers to both Aaron and Tamora as "ravenous" tigers (Act
Andronicus and the Queen of the Goths, Tamora.
5, Scene 3).
Titus Andronicus Study Guide In Context 2
Early Popularity, Later Disdain Revenge Tragedy

Titus Andronicus is exceedingly bloody, and its poetry is not as Titus Andronicus's early popularity makes a great deal of sense
nuanced and graceful as Shakespeare's later plays. These when placed in the context of similar popular works of the
attributes have led some to conclude it is Shakespeare's worst period. By Shakespeare's time, plays that revolved around a
play, that it could not have been written by Shakespeare, or character's quest for revenge had been around for centuries.
that it must have been partly authored by someone else. Some These became numerous enough to warrant their own genre:
scholars believe Elizabethan playwright George Peele revenge tragedy. One of the earliest writers of revenge
(1556–96) may have collaborated on the play with tragedy was Roman playwright Seneca the Younger (4
Shakespeare. Scholars who have analyzed the language of the BCE–65 CE). Thomas Kyd brought the genre firmly into the
play believe its word choice and phrasing shows some English lexicon when his play The Spanish Tragedy was
similarities with Peele's other works. performed around 1587 and gained widespread popularity.
Titus Andronicus capitalized on the popularity of the revenge
However, when Titus Andronicus was first performed, it tragedy, but it was far from the pinnacle of the genre. English
became highly popular. Life under Queen Elizabeth I playwrights John Marston's Antonio's Revenge (1599–1601)
(1558–1603) was generally peaceful, but the Elizabethan era's and Thomas Middleton's The Revenger's Tragedy (1607) are
forms of entertainment tended to the violent. Bear baiting and just a few of the many plays with a revenge-driven plot and a
bull baiting using dogs was one of the queen's favorite forms of stage littered with bodies at the conclusion. And of course,
entertainment. Public executions drew large crowds. Thus, Shakespeare's own Hamlet is a premier, although more
Elizabethans did not have delicate sensibilities when it came to contemplative and less bloodthirsty, example of the genre.
the stage: this was an audience that was accustomed to
violent public displays, and they enjoyed the bloody spectacle Typically, a revenge tragedy includes
Titus Andronicus served up. English playwright Thomas Kyd's
The Spanish Tragedy (c. 1587), a play with a famously high a main character driven by revenge against an antagonist
body count and a great deal of bloodshed, was a favorite at the scenes in which a character goes mad or appears to be
time, and Titus Andronicus may be viewed as Shakespeare's insane
first attempt at the genre. He seems to have been determined a ghost or spirit who instigates or encourages vengeance
to outdo Kyd in both gore and body count. Titus Andronicus scenes of bloody, gory violence
contains the seeds of later revenge-themed tragedies, such as death of the protagonist at the conclusion of the play
Hamlet (1599–1601), although it lacks the psychological nuance

Titus Andronicus fits securely inside the genre. Its protagonist,
and deep feeling of many of the later plays.
for whom the play is named, is consumed by his quest for
Over time British audiences lost their taste for violence. By the vengeance against Tamora and her lover and sons. Titus goes
17th century Titus Andronicus was rarely performed, and when mad or appears to as a result of his deep grief over the rape of
it was staged the bloodiest parts were cut, leaving an his daughter and the unjust execution of his sons. There is no
unsatisfying shell of a plot. This state of affairs continued for ghostly visit from a vengeful spirit, as in Hamlet, but Tamora
about 300 years. However, since the 20th century Titus masquerades as the spirit of Revenge. And there are few, if
Andronicus has enjoyed something of an uptick in popularity. A any, plays with as much blood, gore, and death. Its conclusion
1955 staging starred English actors Laurence Olivier and Vivien includes, as any tragedy does, the death of the protagonist.
Leigh. In 1999 a film version featuring Welsh actor Anthony

Hopkins and American actor Jessica Lange was directed by
American Julie Taymor. And in 2015 London's Globe Theatre Sources and Influences
staged a bloody production that caused two to four audience
members to faint during each performance. Titus Andronicus is loosely set in a historical period, but its
events are completely fictional. Neither Titus Andronicus nor
any of the other characters are historical persons, and none of
the events bear any similarity to actual events. However, its
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Titus Andronicus Study Guide Author Biography 3
Roman setting does inform some of its reliance on classical

myth and literature. The most obvious example is the play's use Childhood and Family Life
of the rape of Philomel from Roman poet Ovid's
Metamorphoses (c. 8 CE). In Ovid's telling of the story, The childhood of William Shakespeare is a murky area for
Philomel—an Athenian princess—is raped by her brother-in-law, scholars since few records of his early activities exist. Very
King Tereus of Thrace. He cuts out her tongue so she cannot little is known about his birth, education, or upbringing.
reveal his crime. Not only does Lavinia's rape and mutilation However, according to church records, he was baptized on
nearly duplicate Philomel's story, the book itself is used as a April 26, 1564, in Stratford-upon-Avon, England, which leads
prop in the play. Lavinia, seeing Young Lucius's copy of the scholars to the conclusion that he was born on April 23 of that
book, manages to use her arm stumps to show others year. Birth records were not usually kept in Shakespeare's
Philomel's story as a way to communicate the crime committed time, although church records—baptisms, weddings,
against her. burials—were kept fastidiously by clergy.
Another obvious source is Roman writer Seneca's Thyestes (c. Shakespeare's family was solidly middle class, and he would
62 CE). In this play Olympian king Thyestes seduces the have had a typical education for an English boy of his time at a
Mycenaean king Atreus's wife. Atreus takes revenge by killing public school endowed by Elizabeth I, which would have
Thyestes's sons and having them served to their father at a included studying the Latin language and Roman and Greek
feast. Atreus then reveals to Thyestes the ingredients of the classical literature. At age 18 Shakespeare married Anne
meal. Shakespeare uses this idea of revenge when Titus Hathaway, a woman eight years his elder who was already
Andronicus kills the Goth queen Tamora's sons and serves pregnant with their daughter Susanna. Anne gave birth to
them to her in a meat pie at a feast, revealing this deception to twins—Judith and Hamnet—a few years later. Church records
her after she has eaten. reveal Hamnet died in childhood.
The popular song "A Lamentable Ballad of the Tragical End of

a Gallant Lord and of his Beautiful Lady, With the Untimely Theatrical Life
Death of Their Children, Wickedly Performed by a Heathen
Blackamore, Their Servant: The Like Seldom Heard Before" (c. Shakespeare moved to London to pursue a career as an actor
1570) may be a source for the villainous plot of Aaron, the and playwright, and over time he achieved success. He
Moor in Titus Andronicus. Ballads, a form of popular song set became a shareholder in the open-air Globe Theatre in London
to well-known tunes, were everywhere in Shakespeare's and had widespread fame as a playwright whose works
England, where they communicated everything from the news included romantic and classically inspired comedies, histories,
of the day to sensational fiction. In this particular ballad, a and tragedies. He is credited with writing at least 37 plays and
"Heathen Blackamore" takes revenge on his employer by over 150 sonnets.
raping his wife. When the "Gallant Lord" begs for his lady's life,
the Blackamore tells him he will spare her life if the lord cuts Throughout his career, Shakespeare and his fellow actors
off his own nose. The lord complies. In Titus Andronicus Aaron were supported by the patronage of the nation's
helps to plan the rape of Titus's daughter Lavinia as part of monarchs—first by Queen Elizabeth I (1533–1603), under
Tamora's revenge for the death of her son. He also tricks Titus whose reign Shakespeare's company was known as The Lord
into cutting off his own hand by saying this will convince the Chamberlain's Men. When King James I (1566–1625) assumed
emperor to spare his sons' lives. the throne in 1603, the company was renamed The King's Men.
Although many of Shakespeare's plays were written for
performance at the Globe, The King's Men also performed at
a Author Biography the nearby Blackfriars Theatre—a smaller indoor space—after

1608. Titus Andronicus is one of Shakespeare's earlier plays,
which may account for some of its shortcomings.

Titus Andronicus Study Guide Characters 4
Retirement and Legacy Tamora

In 1610 or 1611 Shakespeare retired, moving back to Stratford- Tamora is the Queen of the Goths who has recently been
upon-Avon. Despite his retirement from London life, the captured by Titus and brought to Rome with her sons and her
playwright continued to do some writing, contributing to Henry lover, Aaron. After her eldest son is sacrificed as part of a
VIII and Two Noble Kinsmen as well as to another play, religious ceremony despite her pleading, Tamora and her two
Cardenio, now lost. Scholars believe these final works to be remaining sons swear to destroy the house of Andronicus. She
collaborations with John Fletcher (1579–1625), another takes advantage of Saturninus's infatuation with her to become
playwright. empress, and she uses her position to help Aaron, Demetrius,
and Chiron torment and kill members of the Andronicus family.
Shakespeare most likely died on April 23, 1616, leading to the She dresses herself as Revenge in an attempt to manipulate
romantic notion he was born and died on the same date, Titus into a vulnerable position, and she is brutally punished
although there are no records of the exact date of either event. when Titus reveals he has fed her own sons to her as pies
He was 52 at his death and was buried on April 25 at Holy before killing her. Tamora is the matriarch of the Goths. She
Trinity Church in Stratford-upon-Avon. Over 400 years after uses her sexuality, age, and experience to control the flighty
his death, Shakespeare is still regarded as the greatest young emperor, Saturninus. She is justifiably criticized by
playwright of the English-speaking world. Lavinia for her lack of fidelity to her husband or her sex, since
she allows her sons to rape Lavinia. She is loyal to Aaron and
her sons, except for the son she has with Aaron, whom she
h Characters harshly orders be destroyed for the protection of the rest of
the family. She fatally underestimates Titus in his maddened
state, leading to her own death and the death of her sons.
Titus Andronicus
Titus Andronicus is a Roman general whose family has served
Aaron
Rome for generations and is well loved by the populace. He
Aaron is Tamora's secret lover, a Moor living with the Goths
supports Saturninus's rule and kills one of his four remaining
and brought with them to Rome. He devises many of the
sons when he acts treasonously. Titus introduces Tamora to
schemes against the Andronicus family. He frames Titus's sons
Rome and is in part responsible for the death of one of her
and then lies to Titus, telling him that if he cuts off his hand his
sons, drawing her ire. After his daughter Lavinia is raped, Titus
sons will be pardoned. Even when his deeds come to light, he
is tricked into cutting off his own hand, and two of his sons are
shows no remorse. When Lucius becomes emperor, Aaron is
executed. Titus swears revenge on Saturninus and whoever
sentenced to be buried and starved to death. Aaron plays the
tortured Lavinia. When Lavinia manages to accuse Demetrius
role of the malicious trickster, sowing chaos wherever he can.
and Chiron, Titus has them baked into pies and serves them to
He claims he wishes he were a devil and mocks the devoutly
their mother, Tamora. He then kills Lavinia to save himself from
religious Lucius. However, he is the only character to object to
dishonor, kills Tamora for the crimes against his family, and is
his infant son being murdered and goes to self-sacrificing
slain by Saturninus. At the start of the play, Titus is
lengths to keep him safe.
comfortable in his role as patriarch of the Andronicus family
and general of the Roman army. He values loyalty to Rome and,
more importantly, to himself. Early in the play, he kills his own
son Mutius for acting against his and the emperor's wishes.
Lavinia
However, when he is disrespected by the tribunes and
Lavinia is Titus's only daughter. Originally, she is betrothed to
Saturninus while trying to save his other sons, his loyalty to
the younger prince Bassianus, but her father breaks the
Rome breaks. He uses his remaining family as tools for
engagement to marry her to Saturninus when he becomes
vengeance. His penultimate act is to kill his daughter Lavinia to
emperor. Her brothers and Bassianus kidnap her to save her
protect his own honor and assuage his grief.

from this marriage, and she is able to marry Bassianus. The

next day, during a hunt, Demetrius and Chiron kill her husband,
rape her, and cut off her hands and tongue. This propels her
father into a rage that ends in a frenzy of killing. She helps her
father collect Demetrius and Chiron's blood when he kills them,
then is abruptly killed by her own father for having been raped.
Lavinia's passivity in the first scene, as she is betrothed to two
men according to the whims of her father and brothers, stands
in sharp contrast to her active role in the forest. She fiercely
condemns Tamora for her adultery, begs for death rather than
be raped, and curses Tamora for her cruelty. Lavinia is then
mute for the latter half of the play. But her presence as a living
specter of the horrors that have taken place spurs her family
to help her identify and enact revenge on her attackers. She
shows resourcefulness by using a book that features a rape
similar to her own. She then plays an active part in her father's
revenge as she assists him in preparing the bodies of her
rapists as they are killed.
Saturninus
Saturninus is the eldest son of the recently deceased emperor.
He succeeds his father with the support of Titus Andronicus
and almost marries Titus's daughter Lavinia, but he chooses to
marry Tamora instead. He is angry with the Andronicus family,
including Titus, for disrespecting him, but Tamora persuades
him to pardon them all with the promise of a future massacre.
He orders two of Titus's sons killed for the murder of his
brother, and he is confused by Titus's anger toward him for this
act, which he believes was lawful and justified. During the
parley banquet, after Titus kills Tamora, Saturninus kills Titus
and is then slain by Lucius. Saturninus is young and
tempestuous. He is easily manipulated by the older and more
experienced Tamora, and he is ignorant of the Goths' role in
killing his brother. He disrespects Titus's sacrifices for Rome
and is suspicious of his loyalty and jealous of the love Titus
enjoys from the common people. He is outraged when Titus
turns against him, but he is kept in check by the popular
support Titus has earned as general.

Character Map
Lavinia
Spouses Obedient, loyal young woman
Rapist Rapist
Demetrius Chiron
Cruel attacker Brutal assailant
Daughter
Bakes
in a pie
Bakes
in a pie
Titus Andronicus
Roman general
Bassianus
Aaron
Newly married emperor's
Scheming, lying villain
brother
Murderer
Enemies
Siblings Lovers
Saturninus
Tamora
Inexperienced Roman
Spouses Evil Queen of the Goths
emperor
Main Character
Other Major Character
Minor Character

Full Character List Demetrius

Demetrius is one of Tamora's sons. He
rapes Lavinia and is later served in a
meat pie.
Character Description
The first Goth arrives in Rome with
First Goth Lucius, who has raised a Goth army to
Roman general Titus Andronicus is a
fight against Rome.
Titus loyal and brave soldier, but also a
Andronicus volatile man whose revenge-driven
clash with Tamora dominates the play. A second Goth brings the captured
Second Goth
Aaron and his baby to Lucius.
Tamora is the Queen of the Goths. Her
quest for revenge after Titus Lucius is one of Titus Andronicus's
Tamora
Andronicus sacrifices her eldest son Lucius sons. He becomes the leader of the
propels the plot. Goth army.
Aaron, a Moor, is Tamora's lover and Marcus is Titus Andronicus's brother

Aaron Marcus
co-conspirator in her quest for revenge and a Roman tribune.
against Titus Andronicus.
Martius is one of Titus Andronicus's

Martius
Lavinia is Titus Andronicus's daughter, sons. He is killed by his own father.
the object of Demetrius and Chiron's
Lavinia lust, and the victim of a violent rape
meant to punish Titus for having A messenger brings the heads of
Tamora's eldest son sacrificed. Messenger Titus's sons and Titus's hand back to
the Andronicus family.
Saturninus is the eldest son of the

Saturninus former Roman emperor and becomes Mutius is one of Titus Andronicus's
Mutius
his father's successor. sons.
Aemilius is a Roman nobleman who A nurse takes care of Tamora's baby

Aemilius Nurse
delivers messages for Saturninus. by Aaron and is killed by Aaron.
Alarbus is one of Tamora's sons. He is Publius is the son of Marcus

Alarbus Publius
killed as a human sacrifice. Andronicus.
Bassianus is the younger son of the Quintus is one of Titus Andronicus's

Quintus
Bassianus former Roman emperor and Lavinia's sons.
husband.
Sempronius is a kinsman of Titus
Sempronius
Caius Caius is a kinsman of Titus Andronicus. Andronicus.
Captain The captain is a Roman soldier. Tamora's baby proves to be the

Tamora's baby offspring of her lover Aaron, a Moor,
rather than her husband, Saturninus.
Chiron is one of Tamora's sons. He
Chiron rapes Lavinia and is later served in a
meat pie. Valentine is a kinsman of Titus
Valentine
Andronicus.
A clownish country fellow is sent with a

Country fellow message from Titus to Saturninus, and Young Lucius, Titus Andronicus's
he is killed. grandson, has reading material—Ovid's
Young Lucius
Metamorphoses—that is used by
Lavinia to tell people about her rape.

Titus Andronicus Study Guide Plot Summary 8
k Plot Summary Act 3

Martius and Quintus are taken to be executed. Titus begs the
emperor to show mercy to his sons. Then Titus learns the
Act 1 emperor has banished Lucius. On top of all this terrible news,
Titus learns what happened to Lavinia. He is overwhelmed with
Titus Andronicus, a Roman general who has been away for 10 grief. In the midst of this, Aaron arrives with a message from
years fighting the Goths, has just returned to Rome victorious. Saturninus: the emperor will let Martius and Quintus go if Titus
He has brought with him as prisoners the Queen of the Goths, sends his own severed hand to the emperor. Titus asks Aaron
Tamora, along with her sons Alarbus, Chiron, and Demetrius, to help him cut off his hand, and Aaron obliges. However, this
and her lover, Aaron the Moor. Most of Titus's 25 sons died in turns out to have just been Aaron's own trick—there was no
the lengthy war, but four survived. His son Lucius demands a such message from Saturninus—and Martius and Quintus are
human sacrifice be made for the souls of his dead brothers, beheaded. Titus vows revenge. Lucius goes to find allies to
and Tamora's eldest son, Alarbus, is chosen. Alarbus is cut into take revenge on Tamora and Saturninus.
pieces and burned, prompting Tamora and her family to seek
revenge. Titus's mental state seems to be deteriorating as a result of his
great grief and rage.
The Roman emperor has died, and as a triumphant general
Titus is given the privilege of selecting a new emperor. He
chooses Saturninus, who at first says he will marry Lavinia,
Titus's daughter. Bassianus, the brother of Saturninus, speaks
Act 4
up, saying Lavinia is promised to be his wife. Titus will have
Lavinia manages to communicate to Marcus and Titus what
none of this and becomes angry. Titus's sons try to help
happened to her. She uses a book—Ovid's
Bassianus take Lavinia away, and Titus kills his own son Mutius
Metamorphoses—containing the story of Philomel, who was
while trying to prevent them from leaving. Saturninus then
raped and maimed in a similar fashion. Then she writes the
backtracks, saying he will marry Tamora instead of Lavinia.
names of Tamora's sons in the sand using the stumps of her
Saturninus is angry with the entire situation and plans to punish
hands. Titus and Marcus vow revenge.
Bassianus, Titus, and Lavinia. Tamora convinces Saturninus to
let them go, telling Saturninus she will have her revenge on Tamora gives birth to a son, who is obviously the child of
Titus in the future. Saturninus and Tamora are married, as are Aaron, the Moor, and not of Saturninus. The nurse brings the
Lavinia and Bassianus. child to Aaron. Aaron kills the nurse and replaces his dark-
skinned baby with a fair-skinned one who can pass for
Saturninus's offspring. Aaron plans to take his own baby to live
Act 2 with the Goths.
Meanwhile, Lucius has been negotiating with the Goths and

Tamora and Aaron encourage Tamora's remaining sons to
has brought the Goth army to attack Rome. Tamora thinks she
rape Lavinia and kill her new husband. The next day, while on a
can convince Titus to get his son to separate from the Goths.
hunt in the forest, Tamora and Aaron help Chiron and
A meeting between Lucius and Saturninus, to take place at
Demetrius kill Bassianus and take Lavinia deeper into the
Titus's home, is planned.
forest. They rape her, then cut off her hands and tongue so
she cannot tell anyone what has happened to her. Her uncle,
Marcus Andronicus, finds her in the forest.
Act 5
Meanwhile, Aaron forges a letter that suggests Titus's sons,
Martius and Quintus, murdered Bassianus. Saturninus Aaron and his child have been taken prisoner by the Goths.
condemns Martius and Quintus to death. Lucius orders their execution, but Aaron, trying to save his
child, says he will reveal all his guilty secrets to Lucius. He tells

Lucius about Bassianus's murder and Lavinia's rape, including

his part in the plot. Lucius binds and gags Aaron but does not
kill him.
Meanwhile, at Titus's house, Tamora, Chiron, and Demetrius

arrive, pretending to be spirits from hell to help Titus exact his
revenge. Titus sees through the masquerade, however, and
tricks Tamora into leaving her sons with him. He kills them,
then uses their corpses in meat pies he intends to serve to
Tamora.
Saturninus, Tamora, and Lucius all arrive at Titus's house for

the meeting. As they sit down at the dinner table, Titus tells
them about a man who killed his own daughter after she was
raped, which Saturninus agrees was the correct decision.
Then, he kills Lavinia. The banquet continues. After Tamora
has eaten some of the meat pie, Titus reveals it contains the
remains of her dead sons, then kills her. Furious, Saturninus
kills Titus. Then Lucius kills Saturninus. Lucius is proclaimed
the new emperor by the others at the banquet. His first act as
emperor is to have Aaron buried up to the neck and starved to
death. Aaron goes to this death unrepentant.

Plot Diagram
Climax
11
10
12
9
Falling Action
Rising Action 8
13
7
6 14
5
15
4
Resolution
3
2
1
Introduction
8. Two of Titus's sons are executed.

Introduction
9. Titus's son Lucius is banished.
1. Titus Andronicus returns from war against the Goths. 10. Titus appears to go insane.
Rising Action Climax
2. Titus has taken prisoner the Goth queen Tamora and her 11. Lavinia identifies her rapists, and Titus vows revenge.
sons.
3. Titus has Tamora's eldest son sacrificed to the gods.

Falling Action
4. Titus supports Saturninus as the new emperor.
5. Saturninus makes Tamora empress. 12. Titus feeds Tamora the remains of her sons in a pie.
6. Tamora's sons rape and maim Titus's daughter Lavinia. 13. Titus, Lavinia, Tamora, and Saturninus are all killed.
7. Tamora and her lover, Aaron, frame Titus's sons for murder. 14. Lucius is declared emperor.

Resolution
15. Lucius has Aaron buried to the neck and starved.

Timeline of Events
After the emperor's death
Saturninus becomes emperor of Rome.
Later that day
Saturninus marries Tamora, Queen of the Goths.
Later that day
Aaron convinces Chiron and Demetrius to rape Lavinia.
The next day
Chiron and Demetrius rape Lavinia; Bassianus is killed.
A short time later
Marcus finds Lavinia and prepares to bring her to Titus.
A short time later
Martius and Quintus are executed for Bassianus's death.
At the same time
Titus sees Lavinia and vows revenge.
At the same time
Lucius leaves to raise an army of Goths.
Days or weeks later
Lavinia manages to reveal her attackers' names.
A short time later
Tamora gives birth to Aaron's baby.
Sometime later
Lucius returns with an army of Goths.
Sometime later
Lucius and Saturninus agree to a parley.
A short time later

Titus kills Tamora's sons.
That evening
Titus serves Tamora pies made with her sons' remains.
That evening
Titus, Lavinia, Saturninus, and Tamora are all killed.
Later that evening
Lucius becomes Roman emperor.

Titus Andronicus Study Guide Scene Summaries 14
Lavinia. Titus, outraged by this treason against the emperor

c Scene Summaries and betrayal of his own will, kills his son Mutius, who is blocking
his path. Saturninus, however, quickly agrees to let Bassianus
have her, although he accuses Titus of secretly supporting this
Act 1, Scene 1 upheaval. He announces he will marry Tamora. She agrees, and
they leave to get married. Titus feels hurt by the actions of his
family and his emperor. His brother and sons return, upset that
he has slain Mutius. They demand Mutius be buried in the
Summary family tomb, but Titus refuses, saying he is not worthy. The
others persist, begging him to pardon Mutius. Titus relents, and
The emperor of Rome has died. Outside the Capitol, near the
they bury Mutius.
tomb of the Andronicus family, the emperor's sons Saturninus
and Bassianus each proclaim they should be elected emperor. Marcus and Titus discuss Tamora's sudden advancement.
Marcus Andronicus, a tribune of the people, announces the Titus hopes he will prosper by it since he brought Tamora to
people have chosen as emperor Titus Andronicus, a respected Rome. Saturninus and Tamora return, now married, as do
Roman general who has spent 10 years fighting the Goths and Bassianus and Lavinia. Saturninus and Bassianus make an
lost 21 sons in the process. Both brothers yield graciously to uneasy peace, and Bassianus claims Titus had no part in the
the decision, dismissing their supporters. abduction. Tamora also vouches for Titus's innocence, then
pulls Saturninus aside and tells him he must pardon Titus or
Titus Andronicus returns from war, followed by his four living
risk the anger of the Roman citizenry. After all, he does not
sons and the body of his recently slain son. He has brought as
want to seem ungrateful for Titus's brave deeds. Tamora
prisoners the Queen of the Goths, Tamora, her three sons, and
promises she will find a way to get revenge on the Andronicus
other Goths, including Aaron the Moor.
family. Saturninus absolves Titus. Tamora tells Bassianus and
Lavinia they need not fear retribution from the emperor as long
Titus lays his dead son to rest in the family tomb. His eldest
as they behave themselves. Marcus and Titus's sons are
son Lucius takes the eldest Goth prince, Alarbus, to sacrifice
pardoned, and the company goes to enjoy a double bridal
to the gods. Tamora pleads with Titus to show mercy and
feast. Titus tells Saturninus he will arrange a hunt for the
spare her son, but he refuses, saying it is necessary for the
following morning.
religious ceremony. Alarbus is taken to be quartered. Tamora
and her sons promise to take revenge on Titus. The coffin is
laid in the tomb and Lavinia, Titus's daughter, comes to pay her
respects.
Analysis
Titus's brother Marcus Andronicus informs Titus of the The play's lengthy first scene (the entirety of Act 1) opens at a
peoples' decision to elect him emperor. Titus declines, saying moment of transition for Rome—a shift in power due to the
he is too old and has already served his country as a soldier for death of the emperor. The transition will not be smooth. Rome
40 years. Saturninus rescinds his endorsement and threatens is past its height and in the midst of its slow decline, and its
to secure the throne through violence. Titus endorses politics reflect this. First, the late emperor's sons jockey for
Saturninus, the elder brother, for the throne over his brother power. Each son feels entitled to his father's
Bassianus. The people accept his decision and elect position—Saturninus because he is the eldest and Bassianus
Saturninus emperor. because he is such a great guy. Yet this fraternal dispute is
quickly upended as Marcus Andronicus says the people have
Saturninus thanks Titus and offers to marry his daughter instead chosen Titus. Titus doesn't want the job, however, and
Lavinia, even though Lavinia is already betrothed to Bassianus. supports Saturninus as emperor.
Titus accepts, and turns Tamora over to Saturninus as a
prisoner. Saturninus is attracted to Tamora and regrets Unfortunately, Saturninus immediately shows himself to be a
offering to marry Lavinia so quickly. poor decision maker. He first says he will marry Lavinia, then
he wants Tamora. Even though he wants Tamora, he remains
Bassianus, assisted by Marcus and Titus's sons, kidnaps angry that Titus's family tried to prevent him from marrying

Lavinia. He immediately elevates Tamora to the position of newly married Lavinia, whom both claim to love. Demetrius
empress. Unlike her new husband, Tamora has resolve and says he deserves Lavinia because he is the elder brother.
determination. She immediately begins influencing Saturninus Chiron objects, believing he is just as deserving. The two
with her counsel, and he seems willing to be told what to do. brothers draw their swords to duel. Aaron steps in to prevent a
This crisis in leadership provides the context for the bloodbath fight. He scolds them and says he is grateful no one overheard
that is to come—an idea that becomes clear at the end of the them.
play when a new emperor takes over pledging to make sure
this situation never happens again. Aaron points out neither brother has a right to Lavinia because
she is married to Bassianus. He warns them they would be
The main conflict and themes of the play are each introduced risking their lives to make their desires known. Demetrius tells
in this scene, along with the cast of characters. The religious Aaron that Lavinia's marriage is not a deterrent. Aaron
sacrifice of Tamora's eldest son, despite her pleading, prompts observes that the chief desire of the two men appears to be
her to vow vengeance on the entire Andronicus family. The sex, and they concur. Aaron then suggests a scheme: Lavinia is
conflict between Tamora and Titus Andronicus drives the plot. too chaste to be unfaithful, so they must rape her. During the
Obviously, revenge is a major theme of the play. Tamora's next day's hunt, they will lure Lavinia away from the hunting
revenge will bring retribution from Titus, forming a chain of party. Demetrius and Chiron eagerly agree to this plan. The
events that ends in the deaths of most of the major characters. three men leave to seek Tamora for advice.
Violence plays a large role in the revenge, but it is also
developed as its own theme over the course of the play. Even
in this first scene, violence is seen as a tool of justice—Titus Analysis
Andronicus is lauded as a warrior, whose sword "brought to
yoke the enemies of Rome." Violence is seen as good and This scene reveals Demetrius and Chiron as little more than
admirable in some contexts. Later in the play, as the violence lust-driven animals. Their only real interest in Lavinia is for sex,
escalates, this theme will develop with additional nuance. and her status as a married woman does not give them pause.
Where does violence come from? What conditions allow for its They also are not particularly clever—they are just outside the
perpetuation? Is it an instinct—as it is in wild animals—or is it palace where they may be easily overheard. And they are
learned? The play asks these philosophical questions even as violent. They quickly devolve into threatening to kill each other
the violence onstage reaches a fever pitch. Finally, the theme and intend to fight to the death over which one deserves
of family obligations is introduced here. A father is dead, and Lavinia's "love" when Aaron steps in.
his sons argue over who will be his successor. Tamora's son is
Aaron, on the other hand, is revealed as a crafty villain. He
killed. Titus has already lost over 20 of his sons in battle and
begins the scene speaking about Tamora's rise to power in
yet kills one of his few remaining sons with his own hand. The
Rome and how he can make use of it. After overhearing the
obligations of parents to their children, and children to their
young men's conversation, he quickly infers that Demetrius and
parents, will be an important aspect of the play.
Chiron are essentially using "love" language to express their
lust for Lavinia. Then he deftly reveals this essential truth to
Act 2, Scene 1 the brothers. Chiron declares, "I love Lavinia more than all the
world [and] propose to achieve her whom I love." Aaron replies,
"To achieve her how?" and then proceeds to lead the
conversation into bawdy, crass waters. He suggests, "It seems
Summary some certain snatch or so / Would serve your turns." Even the
language used to show how Demetrius and Chiron agree to
Aaron the Moor walks alone outside the palace and reveals to Aaron's interpretation of their desires is full of sexual double
the audience that Tamora is his lover. He glories in the new meanings. Demetrius agrees Aaron has understood what they
status she has achieved by marrying Saturninus, and how this want from Lavinia: "Aaron, thou hast hit it." To which Aaron
power will also be his because she is in his "amorous chains." replies: "Would you had hit it too! / Then should not we be tired
Tamora's sons—Demetrius and Chiron—enter, arguing. Aaron with this ado." Aaron thus diverts the violence the brothers feel
observes the two young men as they each claim rights to the toward each other over Lavinia into something he and Tamora

can use to bring down Titus. wife, Lavinia, raped and silenced. He then gives Tamora a letter
to give to her husband and departs to find Demetrius and
Chiron.
Act 2, Scene 2 Bassianus and Lavinia see Aaron leaving Tamora and accuse
her of being unfaithful to the emperor. They begin arguing.
When Demetrius and Chiron arrive, Tamora tells them
Summary Bassianus and Lavinia lured her here, accused her of adultery,
and threatened to tie her up and leave her. She tells them to
It is morning on the day of the hunt. Titus Andronicus, his
avenge these indignities, and they stab and kill Bassianus.
brother Marcus, and his sons Quintus and Martius are in the
Lavinia is outraged. She curses Tamora, who threatens to kill
forest. Titus orders the hunting horns and dogs to sound,
her. Demetrius suggests they first corrupt Lavinia's chastity,
saying it will wake Saturninus and Tamora, who have just
since it is what she prides herself on. Tamora agrees. Lavinia
shared their wedding night. Saturninus and Tamora arrive with
begs Tamora to be merciful on the grounds they are both
Bassianus and Lavinia, who have also shared their first night
women and her father spared Tamora's life. Tamora objects
together. Tamora's sons are also present.
that Titus is responsible for the death of her eldest son and so
she owes him nothing. Lavinia asks Tamora to kill her
Marcus and Titus tell the emperor the dogs and horses are
immediately rather than leave her to her sons, but Tamora
ready. As the party makes its way toward the woods,
refuses. Demetrius throws Bassianus's body in a pit, and he
Demetrius quietly reminds Chiron they will be hunting a
and Chiron take Lavinia away while Tamora goes to find Aaron.
different kind of doe: Lavinia.
Aaron leads in Quintus and Martius, claiming to have found a

sleeping panther in the pit. Martius falls into the pit, and Aaron
Analysis slips away to get the emperor. Martius finds Bassianus's body
in the pit. As Quintus tries to help Martius out, he falls into the
The dual nature of the hunt is made clear in this scene. The
pit himself, just as Saturninus arrives with Aaron. Tamora
hunt officially is a genteel affair in which the emperor and his
arrives with Titus and his son Lucius and gives Saturninus the
nobles track and kill animals. Unofficially, it is a hunt in which
letter forged by Aaron. The letter promises gold to an assassin
two despicable would-be rapists trap and violate Lavinia—in a
if Martius and Quintus fail to kill Bassianus. Aaron "finds" the
disturbing twist on Renaissance love poetry, which frequently
gold buried beneath a tree, implicating Titus's sons who have,
describes courtship as a hunt. This "hunt" has more in common
coincidentally, been found with the body. Martius and Quintus
with a cold-blooded kind of hunting—the predator/prey
are arrested. Titus begs to pay bail for his sons but is denied.
relationship in the animal kingdom. Chiron and Demetrius are
again portrayed as animals—they are the predators, and
Lavinia is the prey. The woods, where nature's rules dominate
and humans are interlopers, is an appropriate setting for the
Analysis
bestial sons of Tamora to show their monstrous nature.
This scene continues to show the extent of Aaron's
ruthlessness and villainy. His words at the beginning of the
scene foreshadow Lavinia's terrible fate, as he tells Tamora
Act 2, Scene 3 Bassianus's "Philomel must lose her tongue today, / Thy sons
make pillage of her chastity." Philomela, or Philomel, was an
Athenian princess who was raped by her brother-in-law, King
Summary Tereus of Thrace, in Ovid's Metamorphoses. He cut out her
tongue so she could not reveal his crime. Other
In the forest, Aaron buries a bag of gold. Tamora meets him allusions—references to historical or literary works—are used
and suggests they have sex while everyone else is hunting. But in this scene to heighten the tension. For example, when
Aaron says he must focus on the vengeance he is about to Bassianus arrives, he sarcastically suggests Tamora is Dian
execute. He tells her he plans for Bassianus to be killed and his (Diana, the Roman goddess of hunting). Tamora replies that if

she is Diana, he would be Actaeon. In Greek myth, Actaeon

found Diana bathing in the wild. She turned him into a deer and
Summary
he was then killed by his own hunting dogs. Like the allusion to
Demetrius and Chiron rape Lavinia and cut off her hands and
Philomela, this reference foreshadows the violence to come.
tongue. The men taunt her because she will not be able to use
The audience does not have to wait long to witness the
speech or writing to tell anyone the identity of her assailants
violence become more than bloody allusion.
and who killed Bassianus. The men leave and Lavinia is left to
The story of Philomela is significant because it is a clear wander in the forest. She is found by her uncle, Marcus
example of the perpetuation of violence. A number of threads Andronicus. Marcus correctly guesses she was mutilated by a
weave this theme throughout the play. Primarily, violence is rapist who wanted to protect his identity. He compares his
perpetuated through a cycle of revenge and retaliation. But it is niece to Philomela and laments she cannot write the name of
also perpetuated as a learned behavior—from parents or, in her attacker, as Philomela did. Marcus takes Lavinia to find her
this case, through the transmission of stories. This father, crying out, "O, could our mourning ease thy misery!"
transmission even teaches improvements on the
violence—because Philomela revealed her rapist by weaving a
tapestry that told her story, Demetrius and Chiron will cut off Analysis
both Lavinia's tongue and hands, giving her no way to expose
her attackers. This scene is among the most horrible of all of Shakespeare's
works, as the "ravished" and violently maimed Lavinia is
The symbolism of hunting continues in this scene as Lavinia taunted by her rapists: "Now go tell, an if thy tongue can speak,
refers to Tamora as a tiger when she tells Demetrius: "When / Who 'twas that cut thy tongue and ravished thee," says
did the tiger's young ones teach the dam? / O, do not learn her Demetrius, with Chiron quickly adding, "Write down thy mind ...
wrath; she taught it thee." Characterizing Tamora as a if thy stumps will let thee play the scribe."
predator—a tiger—who teaches her young her predatory ways
further develops the idea there is something bestial about her Marcus Andronicus manages to speak of what has happened
family, and perhaps about the Goths in general. The Roman in gentler terms, which may seem out of place next to the
opinion of the Goths was that they were less human than other blood-soaked and mutilated Lavinia. He clearly sees someone
people, and more prone to violence. has "lopped and hewed and made thy body bare / Of her two
branches" and wishes she had hands so that, like Philomela,
This scene also contains some disturbing imagery involving the she might create a tapestry identifying her rapist. Marcus is
pit into which Bassianus's body is thrown. The pit is described severely grieved by what has happened, and he knows Titus
as a "detested, dark, blood-drinking pit." Martius asks to be will be blinded by grief and anger when he sees her. But he
helped out of "this fell devouring receptacle, / As hateful as also acknowledges the limits of these feelings—they cannot
Cocytus's [underworld river] misty mouth." And Quintus notes undo what is done. Their mourning cannot ease her misery.
it is both a grave and a womb: "I may be plucked into the
swallowing womb / Of this deep pit, poor Bassianus's grave."
Thus the pit is a grave, an entrance to hell, and a woman's Act 3, Scene 1
womb. The imagery of a woman's body also being a "devouring
receptacle" associated with violence and death is echoed in
the final scene, in which Tamora eats meat pies containing the
Summary
remains of her own sons.
Martius and Quintus are on their way to be executed for the

murder of Bassianus. Titus follows, pleading with the senators,
Act 2, Scene 4 judges, and tribunes to reverse the decision, but they ignore
him and leave him behind. Titus is joined by Lucius, who has
been banished after attempting to rescue his brothers. Titus
congratulates Lucius for being able to rid himself of the
ungrateful people of Rome.

Marcus and Lavinia appear, and together the four despair at dry his eyes, and Titus refuses it, saying it is already soaking
the death of Bassianus, the accusations against Martius and wet with Marcus's own tears. Not to be outdone, Lucius is also
Quintus, and the mutilation of Lavinia. Aaron enters and tells soaking his own handkerchief with tears. He attempts to dry
Titus the emperor has promised to pardon Martius and Quintus Lavinia's eyes with it, and Titus notes it is all "bewet" with her
if a member of the Andronicus family cuts off his own hand and brother's tears, and so "can do no service on her sorrowful
sends it to him. After some argument, Titus asks Aaron to help cheeks." Thus, all four are weeping profusely but only have two
him cut off his hand, and Aaron complies. Aaron takes the hand wet handkerchiefs between them. It is hard to imagine this as a
to give to Saturninus, although the entire "bargain" is his own completely serious scene, despite the content.
fabrication. He knows Martius and Quintus will not receive a
pardon. Yet while the stage business might be darkly humorous, the
expressions of grief are powerful and quite beautiful. As Titus's
Shortly after a messenger arrives with the heads of Martius grief escalates and turns into vows of revenge, he uses
and Quintus and Titus's hand, saying Titus's offering was wonderful imagery to evoke his despair. He describes it as
scorned. The four despair again, and Titus vows to take being like the overflowing Nile, and like a "wilderness of sea" in
revenge on everyone who has wronged them. Titus instructs the midst of which he stands on a rock, alone. With two sons
Lucius to find the Goths and raise an army against Rome, then headed to their deaths unjustly, another banished, and Lavinia
he, Marcus, and Lavinia return home, carrying the heads of maimed, Titus is surrounded on all sides by suffering.
Martius and Quintus and the hand of Titus.
Act 3, Scene 2
Analysis
Titus's mood swings propel this scene forward. He begins this
scene with pleading, and as his pleas are ignored the pleading
Summary
turns into lamenting. Lucius correctly points out all these
Titus Andronicus eats in his house with his remaining family. He
words are simply wasted energy: "You lament in vain." But
urges them to eat no more food than they will need to feed
Titus's grief is so great, he continues to let it pour out, claiming
their revenge. He points out Lavinia has no hands to beat her
he feels as if the stones on which his tears fall weep along with
chest in grief, as he does with his remaining hand. He says she
him. Even when he learns Lucius has been attempting to free
could take a knife in her mouth and bore a hole in her chest so
his brother, Titus's despair is overwhelming. He claims their
her tears fall into and drown her heart. Marcus objects to
efforts are all useless because there is no justice in Rome, only
Titus's advice, but Titus argues Marcus should not tell those
violence: "Rome is but a wilderness of tigers ... Tigers must
who have no hands how to handle themselves. He then claims
prey, and Rome affords no prey / But me and mine."
he will learn how to interpret Lavinia's sighs, gestures, and
Titus's despair is already at a fever pitch when Lavinia is expressions.
brought in. In a darkly humorous greeting—given that Titus has

Lucius's son, Young Lucius, begs Titus to stop lamenting and
been weeping, lamenting, and falling on the ground for several
tell them a happy story. Titus says Young Lucius is made of
minutes—Marcus tells him, "Prepare thy agèd eyes to weep."
tears, and these tears will melt his life away. As he says this,
But when Titus and Lucius see Lavinia, suddenly it is Titus
Marcus kills a fly with his knife. Titus is incensed and calls
admonishing Lucius to be strong, not the other way around,
Marcus a murderer, saying the fly did nothing but buzz to make
calling him "Faint-hearted boy."
them happy and may have had parents who will grieve it.
It is worthwhile to consider the staging of this scene, and what Marcus asks for forgiveness, saying he killed the fly because it
an audience would see and hear. Once the procession of was black, like Aaron. This justification changes Titus's stance,
tribunes and prisoners has passed, the remaining adult and he instead congratulates Marcus. Then he takes his
members of the Andronicus family are all onstage. Titus weeps brother's knife and strikes the fly twice, once for Aaron and
and laments, which makes Lavinia weep, and Marcus is also once for Tamora. Marcus is distressed by Titus's mental
weeping. At one point Marcus offers Titus his handkerchief to instability.

Titus goes with Lavinia and Young Lucius to read stories in kneel and swear they will seek revenge on the men. Titus adds
Lavinia's chamber. they must beware Tamora and her influence. Then he tells
Young Lucius, who wishes to be part of the revenge, to take
weapons and give them to Demetrius and Chiron. Left alone,
Analysis Marcus fortifies himself to help Titus, even though he believes
Titus is going mad. He again asks the gods to help them in their
Titus, in the grip of his own grief, seems to come apart here, revenge.
and his grief and anger become the driving force of his entire
family. First, he laments so much he makes Young Lucius
weep, an echo of the previous scene. Then his grief overtakes Analysis
Lavinia as he begins interpreting her gestures from his own
perspective: "Hark, Marcus, what she says. / I can interpret all Although there are a great number of allusions in this scene,
her martyred signs. / She says she drinks no other drink but two stand out. The allusion to Philomela's story is not new.
tears." Unfortunately, this is another layer of injustice Lavinia However, in this scene, a book containing the story is actually
must endure, as Titus basically hijacks her body to express his one of the stage props. Shakespeare reuses this idea in his
own grief, justifying it by insisting he is simply giving voice to play Cymbeline by having Ovid's Metamorphoses—open to
her feelings. Philomela's story—appear in a scene where Imogen's private
bedchamber (though not her body) is violated by Iachimo. Ovid
The fly momentarily distracts Titus from his ranting but quickly was clearly a favorite of Shakespeare's, and references to
becomes a reminder of the need for revenge against Aaron. plots contained in Ovid's writings are found throughout
The stabbing of the fly becomes something of a rehearsal of Shakespeare's work, including Romeo and Juliet, A Midsummer
the violence Titus will now begin to perpetrate on Tamora and Night's Dream, Twelfth Night, and The Tempest.
her household. But even at this point in the play, Titus does not
have full knowledge of who performed these dreadful acts Young Lucius's comparison of Lavinia to Hecuba of Troy is
against him and his family. also thematically linked to this play. Hecuba was the wife of
King Priam of Troy. Polymnestor, the Thracian tyrant, killed her
son Polydorus. Hecuba took revenge on Polymnestor by
Act 4, Scene 1 tricking him, blinding him, and murdering his sons. In this play, it
is not Lavinia who is mad like Hecuba, but rather Titus. And it is
Titus who will take revenge by tricking Tamora and killing her
Summary sons.
Lavinia chases Young Lucius around Titus's garden, where

they meet Titus and Marcus. Young Lucius is frightened of Act 4, Scene 2
Lavinia, not knowing what she wants or is trying to
communicate. He fears she is mad with grief, like Hecuba of
Troy. Lavinia takes one of Young Lucius's books, Ovid's Summary
Metamorphoses, and manages to open it to the tale of
Philomela's rape by Tereus. They notice the parallels between Young Lucius arrives at the palace and presents the gifted
Lavinia's rape and Philomela's, which also took place in a forest weapons to Demetrius and Chiron. He departs, and Demetrius
and ended with her tongue being cut out. Using gestures, notices the weapons are wrapped in scrolls. On them are
Lavinia communicates to her father and uncle that she was written lines from Horace's Odes: Integer vitae, scelerisque
attacked by more than one man, but when they ask for names purus, Non eget Mauri iaculis, nec arcu ("The man who is of
she cannot say them. pure life and free from sin needs not the bows and arrows of
the Moor.") Aaron guesses Titus has discovered their guilt.
Marcus prays to the gods for wisdom. Then he realizes Lavinia
can hold a staff in her arms to write in the sand. Doing this, A nurse brings in Tamora's newborn son. The child is dark in
Lavinia names Chiron and Demetrius. Marcus has the family complexion and obviously Aaron's. The nurse tells Aaron

Tamora is sending the child to him to kill so it is not discovered

by Saturninus. Aaron refuses to kill his own son, asking in Act 4, Scene 3
outrage "Is black so base a hue?", but Demetrius and Chiron
are willing. Aaron threatens to kill anyone who tries to harm the
child. He reminds them the child is their brother, and they Summary
relent. Aaron asks the nurse who else knows the child's race,
and after learning there is only one midwife he kills the nurse. Titus and Marcus, along with several others, meet near the
He instructs Demetrius and Chiron to hide the nurse's body in palace. Titus asks them to search for a place on land or sea
the fields and send the midwife to him so he may kill her as with justice, or to go down to hell and beg for justice there.
well. Aaron makes plans to find one of his countrymen who Marcus is concerned about his brother, who seems to be
lives nearby and has a fair-skinned newborn child. He plans to losing his mind, but he hopes Lucius will soon attack Rome
switch the children, believing the couple will be willing to give with an army of Goths. Publius tells Titus they will have to wait
the child up to a more privileged life. for justice. Titus gives them arrows with prayers attached,
addressed to the gods Jove, Apollo, Mars, Pallas (Minerva),
Mercury, and Saturn. They shoot the arrows into the palace
Analysis court.
The theme of family obligations is developed in this scene by A country fellow—a clown, or rustic commoner—approaches,
the sheer number of parental situations it presents. First, the carrying pigeons. Titus believes he has been sent by Jupiter
audience is surprised by the appearance of Tamora and and asks for a message. The fellow says he doesn't know a
Aaron's baby. It may seem as if not enough time has passed for Jupiter but is on his way to watch his uncle and one of the
Tamora and Saturninus to have a child together, but realism emperor's men fight. Titus asks the fellow to deliver a message
was not an important feature of Elizabethan drama, and an to the emperor, which he quickly writes. He also asks the
inaccurate timeline would not have mattered to Shakespeare's fellow to gift the pigeons to the emperor. The fellow agrees. He
audience. What is important is Aaron thinks he can swap his promises to bring a reply to Titus's house.
dark-skinned baby for a light-skinned one and trick Saturninus

into thinking it is his own child.
Analysis
Next, Aaron takes on a new parental role. The development of
Aaron as a father makes a comparison with Titus inevitable. The theme of revenge has been intertwined with characters'
Both men take their parental responsibilities seriously. Titus concept of justice before this scene. After all, taking revenge
seeks violent revenge for actions against his children. Aaron implies a wrong has been done, and the remedy for that wrong
immediately resorts to violence—killing the nurse—to protect is another wrong—revenge. This has the logic and appeal of
his son. In contrast, Tamora, as a mother, seems much less "an eye for an eye." But in this scene, the connection between
invested in the life of her new son than Aaron is. She clearly justice and revenge is explicit. Publius says
sees the child as evidence against her, not as an infant under Revenge—admittedly from hell—is delayed, but "Justice, she is
her care. This suggests her relationship with her children is so employed ... with Jove in heaven." The suggestion is that
more about what they bring her, not about her feelings as a whether Revenge is from hell or Justice from heaven, the result
mother. is the same—those who have hurt the Andronicus family will
suffer. The prayers they shoot on arrows are for the gods to
Finally, Aaron assumes a poor couple will be willing to give up bring justice—punishment—to the emperor, Tamora and her
their child so it will have a better life as the son of the emperor. sons, and Aaron: "There's no justice in Earth nor hell, / We will
As parents, they are expected to look out for their child's best solicit heaven and move the gods / To send down Justice for
interests. to wreak our wrongs."

Goths. In some ways this echoes the historical setting of the

Act 4, Scene 4 play, which is late in the Roman Empire, at the beginning of its
gradual decline and weakening.
Summary
Act 5, Scene 1
Saturninus and his court find Titus's arrows with prayers
attached. Saturninus is irate, thinking Titus is turning the
people of Rome against him. He proclaims Titus's apparent
madness cannot be excused because the death of his sons
Summary
was done in accordance with the law. Tamora asks Saturninus
Outside of Rome, Lucius and his army of Goths prepare to
to be patient and sympathetic with Titus, even though secretly
attack. Aaron is brought in with his infant child. He has been
she and Aaron continue to plot against him.
captured by the Goths on his way to his brother. Lucius orders
The country fellow arrives with the message from Titus and is the Goths to hang Aaron. A ladder is brought in, but before
sentenced to death after Saturninus reads it and is angered by Aaron can be hanged he says if Lucius spares his child's life he
Titus's accusations. A messenger, Aemilius, brings the emperor will reveal other crimes he plotted and committed. Lucius
news that Lucius is leading a band of Goths to attack Rome. agrees. Aaron outlines his involvement in Bassianus's death,
Lucius has many sympathizers in Rome, which worries Lavinia's rape, the framing of Quintus and Martius, and Titus's
Saturninus. Tamora tells him she will go to Titus and persuade lost hand. He refuses to apologize or show remorse and claims
him to intervene. She sends Aemilius to request a parley with his only regret is he cannot do many more evil deeds. In fact,
Lucius at the house of Titus Andronicus. he continues to brag about his many terrible deeds. Finally,
Lucius declares Aaron does not deserve the mercy of a death
by hanging. Aemilius arrives with Saturninus's request for a
Analysis parley, or negotiation, at Titus's house, and Lucius agrees.
In a grim jest, the misheard "gibbet-maker" of the previous

scene proves to have been foreshadowing of the doom Analysis
Saturninus pronounces on the country fellow: "Go, take him
away, and hang him presently." Despite the fact Aaron seems like a protective father, this is
truly his only redeeming quality. His characterization in this
Once the seemingly insignificant life of the country fellow is scene includes his plea and confession on behalf of his child's
over, the play returns to its more serious tone. Saturninus is full life. But this plea is followed by a long litany of wickedness and
of righteous indignation because he feels justice has already an unrepentant attitude. Aaron's attitude toward his crimes
been served. After all, Titus's sons killed Bassianus and were goes beyond a lack of regret. He seems to take a great deal of
executed for the crime, end of story. He cannot believe Titus is pride in them, saying, "I'll show thee wondrous things."
asserting those who "died by law for murder of our brother, /
Have by my means been butchered wrongfully!" From The theme of the perpetuation of violence can be seen in
Saturninus's point of view, this is understandable. He does not Aaron's discussion of the violent actions of Chiron and
know Tamora and her sons are to blame. Demetrius. He says they received a "codding spirit ... from their
mother," suggesting they inherited a lustful (cod is a crude
It may seem strange that after spending 10 years fighting for term for scrotum) nature from Tamora. But he also says he
Rome against the Goths, Titus's son Lucius now leads the was their "tutor," and he taught them to have a "bloody mind."
Goths in an attack on Rome—against their own queen. This Thus, Chiron and Demetrius inherited a barbarous, lustful
aligns with Titus's statement that Rome has become a nature, but they learned to have a violent mind. The rape and
wilderness of tigers—a place of animals. It is not the noble mutilation of Lavinia is a product of both nature and nurture.
civilization he defended in battle. It has deteriorated, and
Romans are now no better than the barbarian, animalistic

involved die. This sense of marching closer and closer to a

Act 5, Scene 2 catastrophic event is a hallmark of tragedy.
Summary Act 5, Scene 3

Tamora, Demetrius, and Chiron are wearing disguises outside
of Titus's house. They knock, and when Titus looks out Tamora
says she is a spirit of Revenge who has come to help him. Titus
Summary
knows who she is and pretends to believe her. Tamora says
It is the evening of the banquet. Lucius, his Goths, and Marcus
the spirits with her are called Murder and Rape because they
arrive at Titus's house, with Aaron as prisoner. Lucius turns
kill murderers and rapists. Titus instructs Murder (Demetrius)
Aaron over to Marcus and warns the Goths to beware
and Rape (Chiron) to kill Demetrius and Chiron. He tells
Saturninus in case he breaks his promise of safety. Saturninus,
Revenge (Tamora) to kill the empress and the Moor. Tamora
Tamora, and members of their court arrive. Everyone is
agrees, suggesting Titus invite everyone to his house for a
greeted by Titus, who is dressed as a cook because, he says,
banquet at which he can take his revenge. Titus agrees and
he has been helping prepare the feast. The party begins to eat.
sends out invitations.
Titus asks Saturninus if he is familiar with the story of Virginius,
Tamora leaves, but Demetrius and Chiron stay with Titus, at his
who killed his daughter after she was raped, and whether the
request. Titus has the two gagged, then brings in Lavinia and
emperor agrees with Virginius's decision. Saturninus says he
reveals he knows their identities and crimes. Titus says he will
does, and it was necessary to kill his grief. Titus concurs and
cook them into pies and serve them to their mother at the
immediately kills Lavinia. He tells Saturninus his daughter was
banquet. He cuts their throats. Lavinia collects the blood in a
raped by Demetrius and Chiron and informs Tamora she has
basin, which, along with their bones, will be made into pie
now eaten their corpses. He then kills Tamora. Saturninus kills
crusts.
Titus, then Lucius kills Saturninus.
Together, Marcus and Lucius speak to the remaining guests

Analysis and explain it was Chiron and Demetrius who murdered
Bassianus and were responsible—along with Aaron and
The alternate identities of Tamora, Chiron, and Demetrius are Tamora—for the injustices against the Andronicus family.
hardly disguises because Titus immediately sees through them. Marcus asks the people of Rome to judge their family,
Tamora, of course, believes Titus has gone mad from grief and promising he and Lucius will kill themselves if it is found they
rage. And perhaps he has—his plan is grotesque, and he begins did anything unacceptable. Aemilius speaks for the court and
to carry it out immediately. But he is not so mad he cannot see proclaims Lucius the new emperor of Rome.
through their disguises. In fact, there is a grim truth to these
identities since Tamora's desire for revenge sets the play in Aaron is brought in, and Lucius sentences him to be buried up
motion, and her sons are murderers and rapists. to the neck and starved to death. Aaron again says he regrets
nothing. Lucius orders the bodies be taken to the tombs of
Titus begins to enact his vengeful plot against Tamora and her their respective families, except for Tamora. She will be fed to
sons without hesitation. It is all-consuming. Even Lavinia is beasts and birds of prey. Lucius ends with a promise to bring
drawn into the revenge, in some kind of strange justice, as she order to Rome so these events are never repeated.
operates as her father's assistant, collecting the blood of her
rapists in a bowl. This action of a parent and child working
together to take revenge recalls the action taken by Tamora Analysis
and her children to take revenge against Titus. The violence is
perpetuated as it is passed from parent to child, and also In his atrocious act of revenge, Titus has made Tamora's body,
perpetuated as individuals retaliate against each other in which gave life to her children, into a grave for those same
revenge. There is no end in sight unless, or until, all parties children: "Eating the flesh that she herself hath bred." Her role

Titus Andronicus Study Guide Quotes 23
is that of the pit in Act 2, Scene 3: a "devouring receptacle" and Marcus Andronicus praises his brother Titus, who has been
a "swallowing womb." This turns the parental role on its away 10 years valiantly fighting the barbaric Goths. But all of
head—rather than protect or even avenge her children, Tamora these ideas are quickly turned on their heads. Titus proves to
eats them. Titus's parental role is not much better. He kills his be as barbaric as the Goths.
daughter Lavinia for being the victim of rape, even after she
has helped him take revenge on her rapists.
"And if thy sons were ever dear to
The use of Virginius's story Titus uses to justify Lavinia's killing
is found, along with the story of Philomel, in Ovid's thee, / O think my son to be as
Metamorphoses. In this story, Appius rapes Virginia, and her
father, Virginius, kills her as a result. This is a final example of a
dear to me."
violent story being used as a template for a new act of
violence. Like the story of Philomel, someone in the present — Tamora, Act 1, Scene 1
sees a parallel in some old myth or story, and then acts out the
story. This is one of the ways violence is perpetuated—and in Tamora appeals to Titus as a fellow parent, and refers to his
this case, justified—through learning. These stories of violence, love for his own sons, seeking some kind of sympathy or
like acts of revenge, contribute to a cycle of violent acts with common ground. This may seem, on its face, to be a laughable
no apparent end—except for the deaths of those involved. To sentiment—neither Tamora nor Titus are models of loving
end the cycle of violence, Lucius makes the following promise: parenthood. But it does introduce the intertwined themes of
"May I govern so / To heal Rome's harms and wipe away her the play, revenge and family obligations.
woe!" But more importantly, he begins to tell a new kind of
story, telling Young Lucius "Thy grandsire loved thee well ...
And bid thee bear his pretty tales in mind / And talk of them
when he was dead and gone." The message is clear: the
"You are but newly planted in your
stories passed on to children influence them for good or ill. throne ... / I'll find a day to
Lucius calls Tamora a "ravenous tiger," recalling both her act of massacre them all / And raze their
consuming and her role as wild beast and predator. Then he
faction and their family."
gives her a fitting end: to be consumed by other wild beasts.
He calls Aaron a "breeder of these dire events," implying Aaron
somehow gave birth or life to the violence. Aaron's punishment — Tamora, Act 1, Scene 1
also evokes the "devouring" pit of Act 2, Scene 3, as he is to be
buried "breast-deep" in a hole in the ground. And it also Tamora tells Saturninus to wait in taking revenge on Titus for
involves eating—or the lack of it—as Aaron will be starved to not allowing him to have Lavinia, since he is new to the throne
death. and can't afford to look weak. But she has her own revenge to
take because she begged Titus not to sacrifice her son and
her pleas were ignored. She tells Saturninus she will "raze" the
g Quotes entire Andronicus family to the ground.
"A nobler man, a braver warrior, / "Chiron, we hunt not, we, with
Lives not this day within the city horse nor hound, / But hope to
walls." pluck a dainty doe to ground."
— Marcus, Act 1, Scene 1 — Demetrius, Act 2, Scene 2

Titus Andronicus Study Guide Quotes 24
Demetrius tells his brother Chiron the next day's hunt will be a the Andronicus family as prey. The degradation of Rome, as it
"hunt" in which Lavinia is the prey. Characterizing the pursuit, becomes more like the "barbarian" people who surround it,
rape, and maiming of Lavinia as a hunt supports the sense that informs the imagery of the play.
the actions of Tamora's family are the actions of wild
predators, not humans.
"Grandsire, 'tis Ovid's
"Vengeance is in my heart, death Metamorphosis. / My mother gave
in my hand, / Blood and revenge it me."
are hammering in my head." — Young Lucius, Act 4, Scene 1
— Aaron, Act 2, Scene 3

The story of Philomela is the template for the rape of
Lavinia—both women were raped and their tongues cut out so
When Aaron and Tamora meet in the forest the morning of the they could not accuse their attackers. A book in which
hunt, Aaron's mind is full of evil schemes—the murder of Philomela's rape and mutilation are recounted is Ovid's
Bassianus and the rape and mutilation of Lavinia. He seems Metamorphoses (here spelled Metamorphosis). The book is
almost joyful in the way he glories in these nefarious plans. used as a prop in the play. Young Lucius is reading it, and
Lavinia, knowing its contents, uses it to communicate what
happened to her.
"When did the tiger's young ones
teach the dam? / O, do not learn "Here is the babe ... The Empress
her wrath; she taught it thee." sends it thee ... / And bids thee
— Lavinia, Act 2, Scene 3 christen it with thy dagger's point."
— Nurse, Act 4, Scene 2

Lavinia refers to Chiron and Demetrius as the "tiger's young
ones," suggesting Tamora is a tiger, or wild predator. Tamora
and Aaron are both portrayed as predators. The instructions Tamora gives Aaron—to kill his own child with
a dagger—foreshadow one of Titus's last violent acts, which is
to stab his own daughter, Lavinia.
"Why ... dost thou not perceive /
That Rome is but a wilderness of "We will solicit heaven and move
tigers? / Tigers must prey, and the gods / To send down Justice
Rome affords no prey / But me for to wreak our wrongs."
and mine."
— Titus Andronicus, Act 4, Scene 3
Titus instructs his entire family to petition the gods for justice.
Titus tells his son Lucius that Rome is not a place of order and And by justice, he means revenge against Tamora and her
civilization, it is a wilderness full of beasts—predators who want sons, who have done terrible things to the Andronicus family.

Titus Andronicus Study Guide Symbols 25
This suggests a close tie between justice and revenge in the

"Why, there they are, both bakèd
minds of Titus and others in the play.
in this pie, / Whereof their mother
daintily hath fed, / Eating the flesh
"I curse the day ... Wherein I did
that she herself hath bred."
not some notorious ill ... or plot the
way to do it." — Titus Andronicus, Act 5, Scene 3
— Aaron, Act 5, Scene 1 Just before he kills her, Titus reveals to Tamora he has
murdered her sons and fed them to her baked in pies. He
Aaron is not only unrepentant, he actually regrets not being describes the terrible reversal that has occurred, as the
able to do more wrongs. He curses any day in which he did not mother whose body gave life to the sons takes those sons'
kill, rape, accuse an innocent man, or cause friends to turn dead bodies back into her own.
against one another.
"May I govern so / To heal Rome's

"I am Revenge, sent from th' harms and wipe away her woe!"
infernal kingdom / To ease the
— Lucius, Act 5, Scene 3
gnawing vulture of thy mind."
After all the violence, Lucius is declared emperor and vows to
— Tamora, Act 5, Scene 2
be a different kind of ruler—one who heals rather than harms.
This suggests the violence and chaos was partially a result of
Tamora masquerades as the spirit of Revenge in order to try to poor leadership. With a better ruler, Rome may become
trick Titus. However, Titus is not fooled. He plays along, and in peaceful again.
doing so tricks Tamora into leaving her sons with him. He
promptly kills the sons and bakes their remains into a pie.
l Symbols
"Die, die, Lavinia, and thy shame
with thee, / And with thy shame
thy father's sorrow die."
Hunting

At the end of Act 1, Scene 1, Titus invites the new emperor
Saturninus to hunt with him, saying "Tomorrow, an it please
After allowing Lavinia to help with the preparation of the your Majesty / To hunt the panther and the hart with me, / With
corpses of Chiron and Demetrius into pies, Titus unexpectedly horn and hound we'll give your Grace bonjour." Saturninus
kills her, alluding to a story in which a father kills his daughter accepts, and the hunt takes place the next day. However, this
after she is raped. Here, Titus claims he does it to kill his own hunt takes on new meaning as it becomes part of Tamora and
shame and sorrow. Aaron's revenge plot against Titus Andronicus. Aaron sees the
hunt as an opportunity for violence. He suggests to Tamora's
two sons, Chiron and Demetrius, that during the "solemn

Titus Andronicus Study Guide Themes 26
hunting," as "the lovely Roman ladies troop" in the forest, they

might pursue Lavinia. He describes the forest's "many Devouring Pit
unfrequented plots ... Fitted by kind for rape and villainy," and
tells them to "Single you thither then this dainty doe, / And
strike her home by force." Aaron's plan is successful. During The symbol of the pit has associations with hell and death. Hell
the hunt in the forest, Bassianus is killed and Lavinia is is often envisioned as a bottomless or deep pit, and a grave is
victimized in a brutal way. also a pit in which the dead are thrown. These associations
come into play as soon as the story includes a pit. In Act 2,
Thus while the characters do go on a traditional "hunt," Aaron
Scene 3 Demetrius and Chiron drag the dead body of
uses the language of hunting to refer to the pursuit and rape of
Bassianus to "some secret hole" (which Aaron has dug for the
Lavinia. The hunt becomes symbolic of the way Tamora, Aaron,
purpose: "the hole where Aaron bid us hide him"). They pitch
and Tamora's sons hunt Lavinia and Bassianus. Lavinia is the
his body into the hole: "They put Bassianus's body in the pit and
prey and Demetrius and Chiron the predators.
exit, carrying off Lavinia." Lavinia begs to be thrown into a pit
rather than suffer rape: "O, keep me from their worse-than-
killing lust, / And tumble me into some loathsome pit." She is
Tigers asking to be killed rather than be raped—a preference of death

over dishonor that her father acts on in the final scene.
The symbolism of the pit as a grave or hell is developed quite

Closely tied to the symbol of the hunt is the symbolic use of grotesquely as the play progresses. Coming upon the pit in the
tigers—fierce predators—in the text. In Act 3, Scene 1 Titus forest, Quintus calls it a "swallowing womb," and Martius says it
Andronicus describes Rome as "but a wilderness of tigers." is a "fell devouring receptacle, / As hateful as Cocytus's misty
Rome is not a civilized place any longer, but a wilderness in mouth." Here the pit that receives Bassianus's body is likened
which predatory tigers roam and find prey. He notes, "Tigers to a womb, creating the image of a womb—or mother—that
must prey, and Rome affords no prey / But me and mine." This devours. In the final scene of the play, Tamora literally
image of tigers—predators—pursuing prey runs throughout the becomes a devouring mother as she eats the remains of her
play, working in tandem with the symbol of the hunt. This own children. The imagery of a pit into which a corpse is
creates a sense that animal instincts and predator-prey thrown, a woman's genitalia, and Tamora's mouth are
relationships rule the play rather than noble human impulses. In intertwined in a way that equates a mother's body with a pit of
general these predatory cats are associated with Tamora and death.
Aaron. Lucius calls Aaron a "ravenous tiger" and "accursèd
devil," and he calls Tamora a "ravenous tiger."
The image of Tamora as a tiger also helps to develop the m Themes

theme of perpetuation of violence. In Act 2, Scene 3 Lavinia
suggests the violence and predation of Tamora is passed
down to her sons through her own milk: "When did the tiger's
young ones teach the dam? / O, do not learn her wrath; she Revenge
taught it thee. / The milk thou suck'st from her did turn to
marble. / Even at thy teat thou hadst thy tyranny." Not only is
Tamora a predator, the image suggests, but she raises her Titus Andronicus is an example of a revenge tragedy. Revenge
sons to also be animals given to her predatory ways. The use is thus one of the play's most important themes. It is the
of animal imagery for Tamora and her family suggests they are motivation behind most of the characters' decisions, and as
by nature subhuman animals as violent as nature is violent. such it is the main plot driver. One of the first acts of violence
in the play is the sacrifice of Tamora's eldest son to appease
the spirits of Titus's dead sons. Despite her pleading, Titus
gives permission for this sacrifice, causing Tamora to seek

Titus Andronicus Study Guide Suggested Reading 27
revenge. Tamora's revenge, in turn, will bring retribution from harm Tamora, and she never knowingly hurts them.
Titus. This tit-for-tat cycle, left unbroken, forms a chain of
events with no end in sight. The only way it can truly end is for
all those involved to die.
Perpetuation of Violence
Beyond the role of revenge as plot driver, the play links
revenge to the idea of justice. Many of the characters believe
justice will only be served if those who caused harm are
Gratuitous violence is an identifying—and
punished in a similar fashion. They pray to the gods for this
controversial—feature of the play. The total body count is 14,
justice but then mete out the punishment themselves. Revenge
higher than any other Shakespeare play. Add to this the
and justice serve the same purpose—punishment for the
appearance of Lavinia with her hands and tongue cut off, and a
wrongdoer. There seems little difference, unless, as Publius
messenger carrying not only the heads of Titus's executed
claims in Act 4, Scene 3, Revenge is from hell and Justice is
sons but also Titus's own severed hand. The final scene, in
from heaven. Titus replies, "And sith there's no justice in Earth
which Tamora is served her own dead sons' bodies in a pie, is
nor hell, / We will solicit heaven and move the gods / To send
quite gruesome.
down Justice for to wreak our wrongs." Yet the play offers no
examples of constructive, rehabilitative justice, and Titus Despite this spectacle of violence, the play asks important
quickly takes revenge into his own hands. This suggests he questions. Where does violence come from? The play's
may see a blurred line between justice from heaven and his characterization of Aaron and its depiction of the Goths as
own acts of revenge. barbarians would suggest violence is something people are
born with. Aaron seems to have no reason for his many
crimes—he simply delights in them. But the play also strongly
suggests violence is a learned behavior. Aaron considers
Family Obligations himself a tutor of violence when he convinces Chiron and
Demetrius to rape Lavinia. And the number of allusions to
stories of violence leaves open the possibility that violent
The theme of family obligations runs throughout the play, behavior can be passed through the telling of stories—another
beginning in the first scene. Titus's expectation of loyalty and kind of learning.
obedience from his children drives him to kill his own son,
Martius. Martius subverts his father by helping Lavinia marry This nature-versus-nurture argument is not entirely resolved in
Bassianus rather than Saturninus. Titus does not hesitate to the play. But one thing seems to be clear: violence can more
use violence against a son whom he perceives as disloyal. And easily be perpetuated when leaders are weak. The opening
Titus's sense of family obligation is what drives him to take his scene makes it clear Roman leadership under Saturninus is
terrible revenge on Tamora and her sons, who violated Titus's lacking in vision. Saturninus can't even make up his mind which
daughter Lavinia. woman he wants, much less how he will lead the empire.
Lucius, after being declared emperor, promises to bring order
Yet in many ways, Titus fails to be a good father to his children to the chaos. The sense of a fresh start under a capable leader
despite his sense of family duty. He does, after all, kill his son offers a glimpse of hope at the end of a very bloody play.
and daughter. In a strange contrast, Aaron, an unrepentant and
mostly uncomplicated villain, proves to be a protective father.
He refuses to kill his own child and shields his baby from harm
by confessing to his many crimes. e Suggested Reading
Tamora and her sons exhibit a unified sense of family loyalty.
Ackroyd, Peter. Shakespeare: The Biography. Anchor, 2006.
Chiron and Demetrius seem to be little more than extensions
of their mother. They quickly jump aboard her revenge train Bloom, Harold, editor. Shakespeare's Tragedies. Chelsea,
and act against the Andronicus family, though their actions 2000.
seem partially in service to their lust. But they never betray or

Titus Andronicus Study Guide Suggested Reading 28
Bryson, Bill. Shakespeare. Harper, 2009.
Dobson, Michael, and Stanley Wells, editors. The Oxford

Companion to Shakespeare. Oxford UP, 2009.
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Titus Andronicus

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What's Inside d In Context

j Book Basics ................................................................................................. 1

Early Popularity, Later Disdain Revenge Tragedy

time, and Titus Andronicus may be viewed as Shakespeare's insane

Hamlet (1599–1601), although it lacks the psychological nuance

Leigh. In 1999 a film version featuring Welsh actor Anthony

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Roman setting does inform some of its reliance on classical

against her. burials—were kept fastidiously by clergy.

her after she has eaten. reveal Hamnet died in childhood.

The popular song "A Lamentable Ballad of the Tragical End of

a Author Biography the nearby Blackfriars Theatre—a smaller indoor space—after

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Retirement and Legacy Tamora

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from this marriage, and she is able to marry Bassianus. The

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Other Major Character

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Full Character List Demetrius

Aaron, a Moor, is Tamora's lover and Marcus is Titus Andronicus's brother

Martius is one of Titus Andronicus's

Saturninus is the eldest son of the

Aemilius is a Roman nobleman who A nurse takes care of Tamora's baby

Alarbus is one of Tamora's sons. He is Publius is the son of Marcus

Bassianus is the younger son of the Quintus is one of Titus Andronicus's

Captain The captain is a Roman soldier. Tamora's baby proves to be the

A clownish country fellow is sent with a

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k Plot Summary Act 3

Meanwhile, Lucius has been negotiating with the Goths and

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Lucius about Bassianus's murder and Lavinia's rape, including

Meanwhile, at Titus's house, Tamora, Chiron, and Demetrius

Saturninus, Tamora, and Lucius all arrive at Titus's house for

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8. Two of Titus's sons are executed.

Rising Action Climax

3. Titus has Tamora's eldest son sacrificed to the gods.

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15. Lucius has Aaron buried to the neck and starved.

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After the emperor's death

Saturninus becomes emperor of Rome.

Later that day

Saturninus marries Tamora, Queen of the Goths.

Later that day

Aaron convinces Chiron and Demetrius to rape Lavinia.

The next day

Chiron and Demetrius rape Lavinia; Bassianus is killed.

A short time later

Marcus finds Lavinia and prepares to bring her to Titus.

A short time later

Martius and Quintus are executed for Bassianus's death.

At the same time

Titus sees Lavinia and vows revenge.

At the same time

Lucius leaves to raise an army of Goths.

Days or weeks later

Lavinia manages to reveal her attackers' names.

A short time later

Tamora gives birth to Aaron's baby.