Staging the Literal in Shakespeare’s Titus Andronicus: Lavinia’s Suffering and Marcus’ Speech

2021 ◽  
Vol 51 (3) ◽  
pp. 356-382
Author(s):  
Judith H. Anderson
Keyword(s):  
Titus Andronicus

Shakespeare’s Early Gothic Hamlet

2019 ◽  
Vol 31 (1-2) ◽  
pp. 4-25
Author(s):  
Gary Taylor
Keyword(s):  
Titus Andronicus

This article proposes that Q1 Hamlet is best understood as an early Gothic tragedy. It connects Catherine Belsey’s work on Shakespeare’s indebtedness to ‘old wives’ tales’ and ‘winter’s tales’ about ghosts with Terri Bourus’s evidence of Q1’s connections to Stratford-upon-Avon, the 1580s, and the beginnings of Shakespeare’s London career. It conducts a systematic lexical investigation of Q1’s Scene 14 (not present in Q2 or F), showing that the scene’s language is indisputably Shakespearian. It connects the dramaturgy of Q1 to the dramaturgy of Titus Andronicus, particularly in terms of issues about the staging of violence, previously explored by Stanley Wells. It also shows that Titus and Q1 Hamlet share an unusual interest in the barbarity and vengefulness of Gothic Europe (including Denmark and Norway).

Titus Andronicus

2013 ◽  
Vol 31 (3) ◽  
pp. 545-549
Author(s):  
Stephen Purcell
Keyword(s):  
Titus Andronicus

"Arm the minds of infants": Interpreting Childhood in Titus Andronicus

Criticism ◽  
2007 ◽  
Vol 48 (2) ◽  
pp. 203-226 ◽  
Author(s):  
Marie. Rutkoski
Keyword(s):  
Titus Andronicus

THE STAGE-HISTORY OF TITUS ANDRONICUS

2010 ◽  
pp. lxvi-lxxi
Author(s):  
William Shakespeare
Keyword(s):  
Titus Andronicus ◽  
History Of

Titus Andronicus

1981 ◽  
Vol 33 (2) ◽  
pp. 198
Author(s):  
Carolyn Sylvander ◽  
William Shakespeare
Keyword(s):  
Titus Andronicus

“Tittus and Vespacia” and “Titus and Ondronicus” in Henslowe's Diary

PMLA ◽  
1901 ◽  
Vol 16 (1) ◽  
pp. 66-76
Author(s):  
George P. Baker
Keyword(s):  
Title Page ◽  
Titus Andronicus ◽  
Men I ◽  
The Moment ◽  
The Rose

The entries in Henslowe's Diary as to “tittus and Vespacia” and “titus and Ondronicus” seem to me, if they be carefully considered, to support Mr. Fuller's conclusions in regard to the origin of Shakspere's Titus Andronicus. I believe, with him, that we have in the entries which he has quoted in his article the two plays he names as the sources for Shakspere's play—the original of G in “tittus and Vespacia”; the original of D in the “titus and Ondronicus” entered as “ne” Jan. 23, 1593–4, when the Sussex men were playing at the Rose./Note that the title-page of the first extant quarto (1600) says that the play was given by Pembroke's, Derby's, Sussex' and the Chamberlain's companies, and that—this is important—the order of the last two companies on this title-page is the order of their control of the play as shown in Henslowe's Diary. May it not be, then, that the assignment is correct and that the Pembroke and the Derby company, in the order named, used the play before the Sussex and the Chamberlain men ? I think if we assume, for the moment, that whoever put the statement on the title-page was thinking simply of a Titus Andronicus play and not of the special play before him, it may be shown that the statement was entirely correct, and that a Titus Andronicus play passed successively from Pembroke's company to Derby's, Sussex', and the Chamberlain's men. The fact that on this first quarto no author was named for the play may have helped in 'the treatment of two successive Andronicus plays as one.

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