Titus Andronicus by William Shakespeare

 Titus Andronicus: the war of revenge 

 

William Shakespeare was a prolific playwright who produced over 30 plays and sonnets, leaving a lasting impression on English literature and the world. His works continue to influence modern day culture and inspire generations of artists, actors, and writers. Philip Henslowe mentioned a new play that would stage on January 23, 1594. William Shakespeare inspired a few sources such as Ovid's Metamorphoses and The History of Titus Andronicus, The Renowned Roman General, Newly Translated from the Italian Copy Printed in Rome to write the play. Although Shakespeare inspired these sources, he alternated plot and characteristic properties. Thanks to his unique ability of fiction, Titus Andronicus became a masterpiece which still read today. 

 

Characters  

1. Titus Andronicus 

2. Tamora 

3. Saturninus 

4. Aaron 

5. Marcus Andronicus 

6. Lavinia 

7. Lucius 

8. Bassianus 

9. Chiron 

10. Demetrius 

11. Publius 

12. Quintus 

13. Martius 

 

1. Historical Background 

Titus Andronicus is a tale of revenge set in ancient Rome, inspired by the works of Seneca. It follows the tragic story of Roman general Titus who seeks revenge on his enemies after a brutal war 

 

2. Overview 

The play deals with themes of violence, power, and revenge, and features some of Shakespeare's most gruesome scenes. It has been praised for its intricate plot and criticized for its heavy-handed approach. He sacrifices the eldest son of Tamora, Queen of the Goths, as part of the Roman victory rituals, leading to a vengeful rage in Tamora. 

 

3. Theatrical Elements  

The play deals with themes of violence, power, and revenge, and features some of Shakespeare's most gruesome scenes. It has been praised for its intricate plot and criticized for its heavy-handed approach. 

 

 

Revenge, loyalty, gender, power, and violence are the main theme of the play. The writers of the Elizabethan time were interested in "Revenge" and it was preferred by audiences. Then, Shakespeare utilized this theme in Titus Andronicus deftly. We can observe the characterization and vengeance between Titus and Aaron. The characterization of Titus influenced me most, for Titus was grave, brave, pitiless and a soldier. He is a Roman general completely. All of the characters in this play were portrayed flawlessly yet Titus and Aaron were more detailed. Aaron is the most important figure of evil and it also is highlighted because Aaron is black, as in "Othello". While Titus represents a Roman general, Aaron represents barbarism. Titus is an aristocratic father who sacrifices his sons for his country, by the same token, barber Aaron is a slave father who strives to protect his son vehemently. Shakespeare created Lear-Coriolanus inspired by Titus, then, Aaron is the heir of Richard III and Edmund. 

  

Although Titus Andronicus is not among Shakespeare's greatest works, it is seen as a play that reflects our age with its dramatic effect and chilling scenes. The play showcases Shakespeare's early experimentation with dramatic techniques and themes that he would later explore more fully in his later tragedies. 

The Tragedy of Mustapha by Fulke Greville

 The Tragedy of Mustapha: struggle of the throne 

 

• History and Plot  

Queen Elizabeth I was formally cursed by the Catholic church by Pope Pius V in February 1570. The religious Brexit labelled Elizabeth as illegitimate and a nonbeliever, while also declaring Protestant England a lawless nation, separated from the rest of Catholic Europe. Elizabeth was faced with an invasion and financial ruin as a result of the Low Countries prohibiting the country's main wool exports. Her counsellors suggested that the only means of survival was to create an alliance with the adversary of her enemy. The negotiations started with the Ottoman Empire, the great power of the 16th century which was an Islamic empire. 

     

• Ottoman Turks: from a dream to a reality 

Elizabeth's policies aimed to be closer to Ottoma, but probably these policies were not supported by the people. We came across the reactions of William Shakespeare and his peers in a short time, and from the late 16th century, the Elizabethan theatre was full of Turks, Moors, Persians and Saracens. 

 

• The Tragedy of Mustapha: the story of power struggle 

A concept of a father-son war for power. Grevilleillustrates both the history and the present condition of the religion-military confrontations of the two parties and thus reproduces the hostile rhetoric about the Turk as the perpetual threat to Christendom. 

 

• Ottoman Danger: god's punishment 

Greville’s interpretation of the history of Christian-Muslim struggles does not differ much from his sources. Greville’s narration of the history of the conflicts between the parties through the chorus of “Mahometan priests”, presents a different perspective, but by revealing the boastful comments of the Ottomans about their deeds, it only serves to confirm the hostility and the threat they pose for Christianity. Greville depicts the Sultan of Ottoman as a tyrant. Nicholas de Moffan’s slave account is one of the first historical sources of the death of Mustapha, probably it is the major source of Greville. This source interests the Ottoman political structure, admiring the way the offices are gained not for wealth or nobility, but for talent and success. 

 

Analysis 

The representation of the historical Ottoman prince Mustapha, the oldest son of Suleiman I (Magnificent Suleiman) is symbolic in the Elizabethan Age as a reflection of paternal filicide. Initially, I want to throw light on the events in the play. The author provides information about the Ottoman dynasty as if he lived in Topkapı Palace. Therefore, I can say the play was written perception of Europeans. The Ottoman Empire was very much in contact with the European countries during the Renaissance time. And in this time, for the most part, largely the Ottoman Muslims were reflected as some negative people. Greville was very much impacted by some historical sources. Also, he had a creative intellectuality while trying to fictionalise his historical knowledge. This is totally fiction. The Tragedy of Mustafa is a fictional work.  

The tragedies were altered twice. The initial revision flooded the area with extensive political debates in its choruses to elaborate on the matter of the desires of aspiring leaders. As Gravel has clearly stated, the issues discussed by the choruses were not a result of the current action. However, these were included to indicate a potential timeframe and to demonstrate the lack of success. This would render the tragedies more acceptable to the objectives of every good reader in the second revision.

 

Roxolana, Sultan Suleiman and the supporters of Suleiman, also Mustafa, all people in the play reflect their individualistic power expectations. We can observe the Christianity perspective through the execution of Mustapha. Mustafa was in some way to be alike and to the crucifixion of Christ or Jesus because he was an innocent and he was very much loved and respected by the whole society. Soleiman, Rosa, and Rostan are depicted as avaricious, aggressive, and cruel, as required by the story for dramatic purposes. In contrast, other characters are portrayed less negatively and thus last. Mustafa, Ahmed, and Camena are commonly associated with discussing Soleiman's faithful decision from political, religious, or moral perspectives. To sum up, the play revolves around the struggles for power, love, and loyalty among the characters. Even if this play is fiction, Greville's depictions pertain to political, religious, and law. 

Ben Jonson: A turbulent story of a poet in Renaissence

 Ben Jonson 

 

Ben Jonson, born between 1572 and 1573 and passing away in 1637, was a notable English playwright, poet, and literary critic of the early modern era. He is considered one of the most important figures in English Renaissance theatre, alongside William Shakespeare and Christopher Marlowe. He has risen from modest beginnings to become England's unofficial poet laureate, with a pension from the king and honorary degrees from both Oxford and Cambridge.  

 

Jonson was born in Westminster, London, to a Protestant family. He was educated at St. Martin's Church of England School and then became an apprentice bricklayer and took part in military service. Johnson's early life was quite turbulent. He escaped to join the English forces in Flander; he killed a man. When he came back to London, he attempted to make a living as an actor and playwright, but this endeavour almost ended in disaster. He was jailed in 1597 for collaborating with Thomas Nashe on the scandalous play The Isle of Dogs (now lost), and not long after his release he killed one of his fellow actors in a duel. Jonson was not executed on the gallows by pleading benefit of clergy (a medieval privilege exempting felons who could read Latin from the death penalty). Thanks to the influence of a priest imprisoned with him, he converted to Catholicism. Ben Jonson was becoming increasingly more of a marginal, not accepted by the society he had cleverly mocked in his past plays. In 1603 he was called before the Privy Council to answer charges of "popery and treason" found in his play Sejanus. He was in jail again for his part in the play Eastward Ho a little more than a year later, which openly mocked the king's Scots accent and propensity for selling knighthood. In 1605, he received the preparation to organize the Twelfth Night entertainment; The Masque of Blackness was the first of twenty-four masques he would produce for the court, most of them in collaboration with the architect and scene designer Inigo Jones. In the same years that he kept on writing the masques, he produced his greatest works for the public theatre. His first successful play, Every Man in His Humor (1598), inaugurated the so-called comedy of humour, which ridicules the eccentricities or passions of the characters.   

 

Despite his antagonistic nature, Jonson had a great friendship with Shakespeare, Donne, Francis Bacon, and John Selden. While Shakespeare is known as the greatest playwright of the English Renaissance, Jonson's work is often seen as more intellectually challenging and sophisticated. Jonson was also known for his role as a literary critic and his work in establishing the first English literary tradition. Ben Jonson died in 1637 and was buried in Westminster Abbey. His legacy as a playwright and poet continues to be celebrated today. 

 

Ben Jonsons’ major plays are the comedies  

Every Man in His Humour (1598) 

Volpone (1605)  

Epicoene; or, The Silent Woman (1609) 

The Alchemist (1610) 

Bartholomew Fair (1614).