Titus Andronicus - Knowledge

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and Demetrius and Titus' amputation take place off stage. A significant change in the first scene, and one with major implications for the rest of the play, is that prior to the sacrifice of Alarbus, it is revealed that several years previously, Tamora had one of Titus' sons in captivity and refused to show him clemency despite Titus' pleas. Aaron has a much larger role in Ravenscroft than in Shakespeare, especially in Act 1, where lines originally assigned to Demetrius and Tamora are given to him. Tamora does not give birth during the action, but earlier, with the baby secretly kept by a nurse. To maintain the secret, Aaron kills the nurse, and it is the nurse's husband, not Lucius, who captures Aaron as he leaves Rome with the child. Additionally, Lucius' army is not composed of Goths, but of Roman centurions loyal to the Andronici. The last act is also considerably longer; Tamora and Saturninus both have lengthy speeches after their fatal stabbings. Tamora asks for her child to be brought to her, but she stabs it immediately upon receiving it. Aaron laments that Tamora has now outdone him in evil; "She has out-done me in my own Art –/Out-done me in Murder – Kille'd her own Child./Give it me – I'le eat it." He is burned alive as the climax of the play.

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rock stars, but the Andronici dress like Roman soldiers; some characters use chariots, some use cars and motorcycles; crossbows and swords are used alongside rifles and pistols; tanks are seen driven by soldiers in ancient Roman garb; bottled beer is seen alongside ancient amphorae of wine; microphones are used to address characters in ancient clothing. According to Taymor, this anachronistic structure was created to emphasise the timelessness of the violence in the film, to suggest that violence is universal to all humanity, at all times: "Costume, paraphernalia, horses or chariots or cars; these represent the essence of a character, as opposed to placing it in a specific time. This is a film that takes place from the year 1 to the year 2000." At the end of the film, young Lucius takes the baby and walks out of Rome; an image of hope for the future, symbolised by the rising sun in the background. Originally, the film was to end as Taymor's 1994 production had, with the implication that Lucius is going to kill Aaron's baby, but during production of the film, actor

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nurse is strangled, not stabbed; Titus' hand was never seen; blood and wounds were symbolised by red ribbons. Edward Trostle Jones summed up the style of the production as employing "stylised distancing effects". The scene where Lavinia first appears after the rape was singled out by critics as being especially horrific, with her wounds portrayed by red streamers hanging from her wrists and mouth. Some reviewers however, found the production too beautified, making it unrealistic, with several commenting on the cleanness of Lavinia's face after her tongue has supposedly been cut out. After its hugely successful Royal Shakespeare Theatre run, the play went on tour around Europe in 1957. No video recordings of the production are known, although there are many photographs available.

3417:, Dürrenmatt altered much of the dialogue and changed elements of the plot; the fly killing scene (3.2) and the interrogation of Aaron (5.1) were removed; Titus has Aaron cut off his hand, and after he realises he has been tricked, Marcus brings Lavinia to him rather than the other way around as in the original play. Another major change is that after Aaron is presented with his love child, he flees Rome immediately, and successfully, and is never heard from again. Dürrenmatt also added a new scene, where Lucius arrives at the Goth camp and persuades their leader, Alarich, to help him. At the end of the play, after Lucius has stabbed Saturninus, but before he has given his final speech, Alarich betrays him, kills him, and orders his army to destroy Rome and kill everyone in it. 3944:(4.3.68–75). The adaptation also includes some lines from Q1 which were removed in subsequent editions; at 1.1.35 Titus' "bearing his valiant sons/in coffins from the field" continues with "and at this day,/To the Monument of that Andronicy/Done sacrifice of expiation,/And slaine the Noblest prisoner of the Gothes." These lines are usually omitted because they create a continuity problem regarding the sacrifice of Alarbus, which has not happened yet in the text. However, Howell got around this problem by beginning the play at 1.1.64 – the entrance of Titus. Then, at 1.1.168, after the sacrifice of Alarbus, lines 1.1.1 to 1.1.63 (the introductions of Bassianus and Saturninus) take place, thus Titus' reference to Alarbus' sacrifice makes chronological sense. 3957:

in the capture of Chiron and Demetrius; he is present throughout the final scene. Much as Julie Taymor would do in her 1999 filmic adaptation, Howell set Young Lucius as the centre of the production to prompt the question "What are we doing to the children?" At the end of the play, as Lucius delivers his final speech, the camera stays on Young Lucius rather than his father, who is in the far background and out of focus, as he stares in horror at the coffin of Aaron's child (which has been killed off-screen). Thus the production became "in part about a boy's reaction to murder and mutilation. We see him losing his innocence and being drawn into this adventure of revenge; yet, at the end we perceive that he retains the capacity for compassion and sympathy."

1385:), and it forms the basis for most modern editions of the play. Q2 appears to be based on a damaged copy of Q1, as it is missing a number of lines which are replaced by what appear to be guess work on the part of the compositor. This is especially noticeable at the end of the play where four lines of dialogue have been added to Lucius' closing speech; "See justice done on Aaron, that damned Moor,/By whom our heavy haps had their beginning;/Then afterwards to order well the state,/That like events may ne'er it ruinate." Scholars tend to assume that when the compositor got to the last page and saw the damage, he presumed some lines were missing, when in fact none were. Q2 was considered the control text until 1904, when the copy of Q1 now at the 3715:. Directed by Johnson, the piece starred Francis Van Wetering as Titus, Alexandra Cirves as Tamora, Roger Casey as Aaron (aka The Evil Black Guy) and Lauren Huyett as Lavinia. Staged as a farce, the production included moments such as Lavinia singing a song entitled "At least I can still sing" after having her hands cut off, but as she reaches the finale, Chiron and Demetrius return and cut out her tongue; Lucius is portrayed as a homosexual in love with Saturninus, and everyone knows except Titus; Titus kills Mutius not because he defies him, but because he discovers that Mutius wants to be a tap dancer instead of a soldier; Bassianus is a transvestite; Saturninus is addicted to prescription medication; and Tamora is a 1929: 3639:, from an original script by Cancer Chong, the play had originally been staged in Hong Kong in 2009. The production took a minimalist approach and featured very little blood (after Lavinia has her hands cut off, for example, she simply wears red gloves for the rest of the play). The production features a narrator throughout, who speaks both in first person and third person, sometimes directly to the audience, sometimes to other characters on the stage. The role of the narrator alternates throughout the play, but is always performed by a member of the main cast. The production received excellent reviews, both in its original Hong Kong incarnation, and when restaged at the Globe. 1986:

champion,/Successful in the battles that he fights,/With honour and with fortune is returned" (ll.65–68). Once Titus has arrived on stage, it is not long before he too is speaking of honour, virtue and integrity, referring to the family tomb as a "sweet cell of virtue and nobility" (l.93). After Titus chooses Saturninus as Emperor, they praise one another's honour, with Saturninus referring to Titus' "honourable family" (ll.239) and Titus claiming "I hold me highly honoured of your grace" (ll.245). Titus then says to Tamora, "Now, madam, are you prisoner to an Emperor –/To him that for your honour and your state/Will use you nobly and your followers" (ll.258–260).

3007:", which directly compares the depictions of the two Lavinias, Agnès Lafont writes of Ninagawa's production that Lavinia's appearance functions as a "visual emblem": "Bloodshed and beauty create a stark dissonance ... Distancing itself from the violence it stages thanks to 'dissonance', the production presents Lavinia onstage as if she were a painting ... Ninagawa's work distances itself from cruelty, as the spectacle of suffering is stylised. Ribbons that represent blood ... are symbolic means of filtering the aching spectacle of an abused daughter, and yet the spectacle retains its shocking potential and its power of empathy all the while intellectualizing it." 2276:'s delivery of the speech "became a deeply moving attempt to master the facts and thus to overcome the emotional shock of a previously unimagined horror. We had the sense of a suspension of time, as if the speech represented an articulation, necessarily extended in expression, of a sequence of thoughts and emotions, that might have taken no more than a second or two to flash through the character's mind, like a bad dream." Also speaking of the Warner production and Sumpter's performance, Alan C. Dessen writes "we observe Marcus, step-by-step, use his logic and Lavinia's reactions to work out what has happened, so that the spectators both see Lavinia directly 357:) tells Titus that she will grant him revenge on all of his enemies if he convinces Lucius to postpone the imminent attack on Rome. Titus agrees and sends Marcus to invite Lucius to a reconciliatory feast. Revenge then offers to invite the Emperor and Tamora as well, and is about to leave when Titus insists that Rape and Murder stay with him. When Tamora is gone, Titus has Chiron and Demetrius restrained, cuts their throats, and drains their blood into a basin held by Lavinia. Titus tells Lavinia that he will "play the cook", grind the bones of Demetrius and Chiron into powder, and bake their heads into two pies, which he will serve to their mother. 1220:. The tour was a financial failure, and the company returned to London on 28 September, financially ruined. At that point, they sold the play to Sussex's Men, who would go on to perform it on 24 January 1594 at The Rose. If one accepts this theory, it suggests a date of composition as some time in early to mid-1592. However, Jonathan Bate and Alan Hughes have argued that there is no evidence that the listing is chronological, and no precedent on other title pages for making that assumption. Additionally, a later edition of the play gives a different order of acting companies – Pembroke's Men, Derby's Men, Sussex' Men and 1995:

is pleading with Titus that Mutius should be allowed to be buried in the family tomb, he implores, "Suffer thy brother Marcus to inter/His noble nephew here in virtue's nest,/That died in honour and Lavinia's cause" (ll.375–377). Having reluctantly agreed to allow Mutius a royal burial, Titus then returns to the issue of how he feels his sons have turned on him and dishonoured him: "The dismall'st day is this that e'er I saw,/To be dishonoured by my sons in Rome" (ll.384–385). At this point, Marcus, Martius, Quintus and Lucius declare of the slain Mutius, "He lives in fame, that died in virtue's cause" (ll.390).

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Scythia, is a chaste though decidedly strong-minded female, and her connection with the Moor appears to be of legitimate description; her sons Chiron and Demetrius are dutiful children, obeying the behests of their mother. Thus altered, Mr. Aldridge's conception of the part of Aaron is excellent – gentle and impassioned by turns; now burning with jealousy as he doubts the honour of the Queen; anon, fierce with rage, as he reflects upon the wrongs which have been done him – the murder of Alarbus and the abduction of his son; and then all tenderness and emotion in the gentler passages with his infant.

3277: 2247:, that tragic contrast between what people once were and what they have become." Jacques Berthoud provides another theory, arguing that the speech "exhibits two qualities seldom found together: an unevasive emotional recognition of the horrors of her injuries, and the knowledge that, despite her transformation into a living grave of herself, she remains the person he knows and loves." Thus, the speech evokes Marcus's "protective identification" with her. D. J. Palmer feels that the speech is an attempt to rationalise in Marcus's own mind the sheer horror of what he is seeing; 1185: 1037: 3776:, was directed by Lorn Richey and starred Ross Dippel as Titus, Aldrich Allen as Aaron, and Maureen Moran as Lavinia. Another straight-to-video- adaptation was made in 1998, directed by Christopher Dunne, and starring Robert Reese as Titus, Candy K. Sweet as Tamora, Lexton Raleigh as Aaron, Tom Dennis as Demitrius, with Levi David Tinker as Chiron and Amanda Gezik as Lavinia. This version enhanced the violence and increased the gore. For example, in the opening scene, Alarbus has his face skinned alive, and is then disembowelled and set on fire. 758:. That story involves a sadistic emperor named Titus who amused himself by throwing slaves to wild animals and watching them be slaughtered. However, when a slave called Andronicus is thrown to a lion, the lion lies down and embraces the man. The emperor demands to know what has happened, and Andronicus explains that he had once helped the lion by removing a thorn from its foot. Bate speculates that this story, with one character called Titus and another called Andronicus, could be why several contemporary references to the play are in the form 672:, had been having an affair with Thyestes, and he vows revenge. He asks Thyestes to return to Mycenae with his family, telling him that all past animosities are forgotten. However, when Thyestes returns, Atreus secretly kills Thyestes's sons. He cuts off their hands and heads, and cooks the rest of their bodies in a pie. At a reconciliatory feast, Atreus serves Thyestes the pie in which his sons have been baked. As Thyestes finishes his meal, Atreus produces the hands and heads, revealing to the horrified Thyestes what he has done. 2438:; "A Catalogue of part of his Ma Servants Playes as they were formally acted at the Blackfryers & now allowed of to his Ma Servants at y New Theatre." However, no other information is provided. During the late seventeenth, eighteenth and nineteenth centuries, adaptations of the play came to dominate the stage, and after the Burley performance in 1596 and the possible Blackfriars performance some time prior to 1667, there is no definite recorded performance of the Shakespearean text in England until the early twentieth century. 3178:, but all the character names are different, with the exception of Titus himself. Written in prose, the play does not feature the fly killing scene (3.2), Bassianus does not oppose Saturninus for the throne, Alarbus is absent, Quintus and Mutius are only seen after their death, many of the classical and mythological allusions have been removed; stage directions are much more elaborate, for example, in the banquet scene, Titus is described as wearing blood-soaked rags and carrying a butcher's knife dripping with blood. 33: 8596: 1345:, argue that "ne" could refer to a newly licensed play, which would make sense if one accepts Waith's argument that Pembroke's Men had sold the rights to Sussex's Men upon returning from their failed tour of the provinces. Foakes and Rickert also point out that "ne" could refer to a newly revised play, suggesting editing on Shakespeare's part some time in late 1593. Waith sees this suggestion as especially important insofar as John Dover Wilson and Gary Taylor have shown that the text as it exists in Q1 2764:

and get in shape so that by the time of the performance, he weighed 240 lbs. Standing at six-foot four, his Aaron was purposely designed to be the most physically imposing character on the stage. Additionally, he was often positioned as standing on hills and tables, with the rest of the cast below him. When he appears with the Goths, he is not their prisoner, but willingly enters their camp in pursuit of his baby, the implication being that without this one weakness, he would have been invincible.

3802:, who played Lucius, convinced Taymor that Lucius was an honourable man and wouldn't go back on his word. Lisa S. Starks reads the film as a revisionist horror film and feels that Taymor is herself part of the process of twentieth century re-evaluation of the play: "In adapting a play that has traditionally evoked critical condemnation, Taymor calls into question that judgement, thereby opening up the possibility for new readings and considerations of the play within the Shakespeare canon." 2907: 2524:. The media predicted that the production would be a massive failure, and possibly spell the end of Brook's career, but on the contrary, it was a huge commercial and critical success, with many of the reviews arguing that Brook's alterations improved Shakespeare's script (Marcus' lengthy speech upon discovering Lavinia was removed and some of the scenes in Act 4 were reorganised). Olivier in particular was singled out for his performance and for making Titus a truly sympathetic character. 2039: 1049: 2321:. Using the example of Marcus' speech, Reese argues that the audience is disconnected from the violence through the seemingly incongruent descriptions of that violence. Such language serves to "further emphasise the artificiality of the play; in a sense, they suggest to the audience that it is hearing a poem read rather than seeing the events of that poem put into dramatic form." Gillian Kendall, however, reaches the opposite conclusion, arguing that rhetorical devices such as 9348: 1834: 1644: 3205: 321: 3003:, wrote "Gore is represented by swatches of red cords that tumble and trail from wounded wrists and mouths. You might think that this method had a cushioning effect. In fact it concentrates and heightens the horror." Ninagawa himself said "The violence is all there. I am just trying to express these things in a different way from any previous production." In her 2013 essay, "Mythological Reconfigurations on the Contemporary Stage: Giving a New Voice to Philomela in 9242: 3568:, changes to the text include the rape of Lavinia being Tamora's idea instead of Aaron's; the removal of Marcus; Titus does not kill his son; he does not have his hand amputated; Chiron is much more subservient to Demetrius; Aaron is more philosophical, trying to find meaning in his acts of evil rather than simply revelling in them; Titus does not die at the end, nor does Tamora, although the play ends with Titus ordering the deaths of Tamora and Aaron. 2416: 1208:, which usually refer to one company only, if any. If the order of the listing is chronological, as Eugene M. Waith and Jacques Berthoud, for example, believe it is, it means that Sussex's Men were the last to perform the play, suggesting it had been on stage quite some time prior to 24 January 1594. Waith hypothesises that the play originally belonged to Derby's Men, but after the closure of the London theatres on 23 June 1592 due to an outbreak of 1330: 603:. After five years in Thrace, Procne yearns to see her sister again, so she persuades Tereus to travel to Athens and accompany Philomela back to Thrace. Tereus does so, but he soon begins to lust after Philomela. When she refuses his advances, he drags her into a forest and rapes her. He then cuts out her tongue to prevent her from telling anyone of the incident and returns to Procne, telling her that Philomela is dead. However, Philomela weaves a 2284: 1233:

on virtually every sixteenth-century play; the claim on a title page that a play had been performed "sundry times" was an attempt by publishers to emphasise its popularity, and its absence on Q1 indicates that the play was so new, it hadn't been performed anywhere. Bate also finds significance in the fact that prior to the rape of Lavinia, Chiron and Demetrius vow to use Bassianus' body as a pillow. Bate believes this connects the play to

2051:/Doth make your honour of his body's hue,/Spotted, detested, and abominable" (2.3.72–74). Later, after the Clown has delivered Titus' letter to Saturninus, Saturninus declares "Go, drag the villain hither by the hair./Nor age nor honour shall shape privilege" (4.4.55–56). Another example is seen outside Rome, when a Goth refers to Lucius "Whose high exploits and honourable deeds/Ingrateful Rome requites with foul contempt" (5.1.11–12). 2686:

play asked profound questions about the sustainability of Elizabethan society, and as such, he linked the play to the contemporary period to ask the same questions of late twentieth-century England; he was "less concerned with the condition of ancient Rome than with the morality of contemporary life". In his program notes, Nunn wrote "Shakespeare's Elizabethan nightmare has become ours." He was especially interested in the theory that

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Titus, Marcus, or Titus' remaining son, Lucius, cuts off one of their hands and sends it to him. Though Marcus and Lucius are willing, Titus has his own left hand cut off by Aaron and sends it to the emperor. However, a messenger brings back Martius's and Quintus's severed heads, along with Titus's own severed hand. Desperate for revenge, Titus orders Lucius to flee Rome and raise an army among their former enemy, the Goths.

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wander out into the auditorium. Opting for a realist presentation, the play had a warning posted in the pit "This play contains scenes which some people may find disturbing", and numerous critics noted how, after the interval at many shows, empty seats had appeared in the audience. Warner's production was considered so successful, both critically and commercially, that the RSC did not stage the play again until 2003.

3298:. Aaron was rewritten to make him the hero of the piece (played by Aldridge), the rape and mutilation of Lavinia were removed, Tamora (Queen of Scythia) became chaste and honourable, with Aaron as her friend only, and Chiron and Demetrius act only out of love for their mother. Only Saturninus is a truly evil character. Towards the end of the play, Saturninus has Aaron chained to a tree, and his baby flung into the 9252: 2207: 3899:

booked into the studio in February and March 1984, but the strike meant it could not shoot. When the strike ended, the studio could not be used as it was being used by another production, and then when the studio became available, the RSC was using Trevor Peacock, and filming did not take place until February 1985, a year later than planned. Initially, director Jane Howell wanted to set the play in present-day

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reality into some aesthetic distance, then, Marcus' conceits dwell upon this figure that is to him both familiar and strange, fair and hideous, living body and object: this is, and is not, Lavinia. Lavinia's plight is literally unutterable ... Marcus' formal lament articulates unspeakable woes. Here and throughout the play the response to the intolerable is ritualised, in language and action, because

1982:: "And now at last, laden with honour's spoils,/Returns the good Andronicus to Rome,/Renowned Titus, flourishing in arms./Let us entreat by honour of his name/Whom worthily you would have now succeed" (ll.36–40). Marcus' reference to Titus' name is even itself an allusion to his nobility insofar as Titus' full title (Titus Pius) is an honorary epitaph which "refers to his devotion to patriotic duty". 3250:. Rich's actors had little Shakespearean experience, and Quin was soon advertised as the main attraction. In 1718, the adaptation was presented twice at Lincoln, both times with Quin as Aaron. In the 1720–1721 season, the play earned £81 with three performances. Quin became synonymous with the role of Aaron, and in 1724 he chose the adaptation as the play to be performed at his benefit. 2215:

speech entirely. There is also a great deal of disagreement amongst critics as to the essential meaning of the speech. John Dover Wilson, for example, sees it as nothing more than a parody, Shakespeare mocking the work of his contemporaries by writing something so bad. He finds no other tonally analogous speech in all of Shakespeare, concluding it is "a bundle of ill-matched

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practical questions, such as why does Lavinia not bleed to death, why does Marcus not take her to the hospital immediately, why does Tamora not notice that the pie tastes unusual, exactly how do both Martius and Quintus manage to fall into a hole? Freedman argued that "if one wants to create a fresh emotional response to the violence, blood and multiple mutilations of

545: 2650:. Additionally, the violence was stylised; instead of swords and daggers, wands were used and no contact was ever made. The colour scheme was hallucinatory, changing mid-scene. Characters wore classic masks of comedy and tragedy. The slaughter in the final scene was accomplished symbolically by having each character wrapped in a red robe as they died. A narrator ( 368:. Titus then kills Tamora and is immediately killed by Saturninus, who is subsequently killed by Lucius to avenge his father's death. Lucius is then proclaimed Emperor. He orders that Titus and Lavinia be laid in their family tomb, that Saturninus be given a state burial, that Tamora's body be thrown to the wild beasts outside the city, and that Aaron be 2372:. The 24 January show earned three pounds eight shillings, and the performances on 29 January and 6 February earned two pounds each, making it the most profitable play of the season. The next recorded performance was on 1 January 1596, when a troupe of London actors, possibly Chamberlain's Men, performed the play during the Christmas festivities at 3697:, after her tongue has been cut out; Saturninus and Lucius engaged in a sword fight, but both being played by the same actor; Chiron and Demetrius 'played' by a gas can and a car radio respectively; the love child being born with a black moustache. A number of critics felt that the play improved on Shakespeare's original, and several wondered what 3308:, a play written specifically for Aldridge in Dublin in 1847, was included in this adaptation. After the initial performances, Aldridge kept the play in the repertoire, and it was extremely successful at the box office and continued to be staged in England, Ireland, Scotland and Wales until at least 1857, when it received a glowing review from 3269:. The playbill had a note reading "The manager, in announcing this play, adapted by N. H. Bannister from the language of Shakespeare alone, assures the public that every expression calculated to offend the ear, has been studiously avoided, and the play is presented for their decision with full confidence that it will merit approbation." In his 3490:. Müller removed the entire first act, replacing it was a narrated introduction, and completely rewrote the final act. He described the work as "terrorist in nature", and foregrounded the violence; for example Lavinia is brutally raped on stage and Aaron takes several hacks at Titus' hand before amputating it. First performed at the 3681:, and starring Brian Colonna as Titus, Erin Rollman as Tamora (and Marcus), Hannah Duggan as both Aaron and Lavinia (when playing Aaron she wore a fake moustache), Erik Edborg as Lucius and Saturninus, and Evan Weissman as Someone Who Will Probably Die (he is killed over thirty times during the play). The piece was very much a 1990:

should govern all, including the Emperor. As such, when Lucius reprimands Titus for slaying one of his own sons, Titus responds "Nor thou, nor he, are any sons of mine;/My sons would never so dishonour me" (l.296). Moments later, Saturninus declares to Titus "I'll trust by leisure him that mocks me once,/Thee never, nor thy

607:, in which she names Tereus as her assailant, and has it sent to Procne. The sisters meet in the forest and together plot their revenge. They kill Itys and cook his body in a pie, which Procne then serves to Tereus. During the meal, Philomela reveals herself, showing Itys' head to Tereus and telling him what they have done. 2243:

that which has been lost", i.e. Lavinia's beauty and innocence is figuratively returned in the beauty of the language. Similarly, for Brian Vickers, "these sensual pictorial images are appropriate to Lavinia's beauty now forever destroyed. That is, they serve one of the constant functions of tragedy, to document the

1999:(ll.415–416). Then, in a surprising move, Tamora suggests to Saturninus that he should forgive Titus and his family. Saturninus is at first aghast, believing that Tamora is now dishonouring him as well; "What madam, be dishonoured openly,/And basely put it up without revenge?" (ll.442–443), to which Tamora replies, 2715:

of the violence went too far. Many cited the final scene, where despite three onstage stabbings, not one drop of blood was visible, and the reveal of Lavinia, where she was totally bloodless despite her mutilation. This production cut Lucius' final speech and instead ended with Aaron alone on the stage as

708:, Claudius threatens the assembly with violence, and Verginius' supporters flee. Seeing that defeat is imminent, Verginius asks Claudius if he may speak to his daughter alone, to which Claudius agrees. However, Verginius stabs Verginia, determining that her death is the only way he can secure her freedom. 3931:

For the most part, the adaptation followed Q1 exactly (and F1 for 3.2) with some minor alterations. For example, a few lines were cut from various scenes, such as Lavinia's "Ay, for these slips have made him noted long" (2.3.87), thus removing the continuity error regarding the duration of the Goths'

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butcher and smeared with Vaseline to make it gleam under the studio lighting. In an unusual design choice, Howell had the Roman populace all wear identical generic masks without mouths, so as to convey the idea that the Roman people were faceless and voiceless, as she felt the play depicted a society

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stars in the film as Edward Lionheart, who regards himself as the finest Shakespearean actor of all time. When he fails to be awarded the prestigious Critic's Circle Award for Best Actor, he sets about exacting bloody revenge on the critics who gave him poor reviews, with each act inspired by a death

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on a minimalistic set made of plywood boards. The production had a low budget and much of it was spent on huge volumes of blood that literally drenched the actors in the final scene, as Sexton said he was determined to outdo his contemporaries in terms of the amount of on-stage blood in the play. The

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Several reviews of the time made much of the manner in which each production approached the appearance of Lavinia after the rape: "At Shakespeare's Globe, the groundlings are fainting at the mutilations in Lucy Bailey's coarse but convincing production. To Stratford-upon-Avon, Yukio Ninagawa brings a

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had led to the collapse of Rome. At the end of 4.2, for example, there was an on-stage orgy, and throughout the play, supporting actors appeared in the backgrounds dancing, eating, drinking and behaving outrageously. Also in this vein, the play opened with a group of people paying homage to a waxwork

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Marcus' lament is an effort to realise a sight that taxes to the utmost the powers of understanding and utterance. The vivid conceits in which he pictures his hapless niece do not transform or depersonalise her: she is already transformed and depersonalised ... Far from being a retreat from the awful

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tendency to drift away and become absorbed in his own thoughts rather than confront the harshness of reality." Jonathan Bate however, sees the speech as more complex, arguing that it attempts to give voice to the indescribable. Bate thus sees it as an illustration of language's ability to "bring back

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Another theory is suggested by Anthony Brian Taylor, who argues simply that Marcus is babbling; "beginning with references to 'dream' and 'slumber' and ending with one to sleep, the speech is an old man's reverie; shaken by the horrible and totally unexpected spectacle before him, he has succumbed to

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In this much discussed speech, the discrepancy between the beautiful imagery and the horrific sight before us has been noted by many critics as jarring, and the speech is often severely edited or completely removed for performance; in the 1955 RSC production, for example, director Peter Brook cut the

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is not simply one of meaningless acts of random violence but rather one in which language engenders violence and violence is done to language through the distance between word and thing, between metaphor and what it represents." For example, in 3.1 when Titus asks Aaron to cut off his hand because he

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Bassianus then cites his own admiration for all of the Andronici: "Marcus Andronicus, so I do affy/In thy uprightness and integrity,/And so I love and honour thee and thine,/Thy noble brother Titus, and his sons" (ll.47–50). Upon Titus' arrival, an announcement is made: "Patron of virtue, Rome's best

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in 1999, says she was drawn to the play because she found it to be the most "relevant of Shakespeare's plays for the modern era". As she believes we live in the most violent period in history, Taymor feels that the play has acquired more relevance for us than it had for the Victorians; "it seems like

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must already have entered the repertoire of Derby's Men by the end of 1591 or the start of 1592 at the latest." Berthoud believes this places the date of composition some time in 1591. Another theory is provided by Jonathan Bate, who finds it significant that Q1 lacks the "sundry times" comment found

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Some time later, Marcus discovers the mutilated Lavinia and takes her to her father, who is still shocked at the accusations levelled at his sons, and upon seeing Lavinia, he is overcome with grief. Aaron then visits Titus and falsely tells him that Saturninus will spare Martius and Quintus if either

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The deflowerment of Lavinia, cutting out her tongue, chopping off her hands, and the numerous decapitations which occur in the original, are wholly omitted, and a play not only presentable but actually attractive is the result. Aaron is elevated into a noble and lofty character; Tamora, the queen of

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as Aaron. Campbell presented Titus in a much more sympathetic light than usual; for example, he kills Mutius by accident, pushing him so that he falls against a tree, and his refusal to allow Mutius to be buried was performed as if in a dream state. Prior to the production, Rucker had Young work out

2628:

as Aaron and Erin Martin as Lavinia. Freedman had seen Seale's production and felt it failed because it worked by "bringing into play our sense of reality in terms of detail and literal time structure". He argued that when presented realistically, the play simply does not work, as it raises too many

1583:

was taken seriously only by a handful of textual and bibliographic scholars. Readers, when they could be found, mostly regarded it as a contemptible farrago of violence and bombast, while theatrical managers treated it as either a script in need of radical rewriting, or as a show-biz opportunity for

955:

believes that all copyright to the play lapsed upon Danter's death in 1600, hence the 1602 transferral from Millington to Pavier was illegitimate unless it refers to something other than the play; i.e. the prose. Both scholars conclude that the evidence seems to imply the prose existed by early 1594

316:

baby, fathered by Aaron, which will draw Saturninus's wrath. Though Tamora wants the baby killed, Aaron kills the nurse to keep the child's race a secret and flees to raise his son among the Goths. Thereafter, Lucius, marching on Rome with an army, captures Aaron and threatens to hang the infant. In

3974:

is swindled by Scott Tenorman. Cartman tries various methods to get his money back, but Scott remains always one step ahead. He then decides to exact revenge on Scott. After numerous failed attempts, he hatches a plan which culminates in him having Scott's parents killed, the bodies of whom he then

3956:

The most significant difference from the original play concerned the character of Young Lucius, who is a much more important figure in the adaptation; he is present throughout Act 1, and retrieves the murder weapon after the death of Mutius; it is his knife which Titus uses to kill the fly; he aids

3898:

was broadcast several months after the rest of the seventh season, it was rumoured that the BBC were worried about the violence in the play and that disagreements had arisen about censorship. This was inaccurate however, as the delay was actually caused by a BBC strike in 1984. The episode had been

3797:

as Lavinia. As with Taymor's stage production, the film begins with a young boy playing with toy soldiers and being whisked away to Ancient Rome, where he assumes the character of young Lucius. A major component of the film is the mixing of the old and modern; Chiron and Demetrius dress like modern

3253:

Ravenscroft made drastic alterations to the play. He removed all of 2.2 (preparing for the hunt), 3.2 (the fly killing scene), 4.3 (firing the arrows and sending the clown to Saturninus) and 4.4 (the execution of the clown). Much of the violence was toned down; for example both the murder of Chiron

2714:

as Aaron and Domini Blithe as Lavinia. Bedford went with neither stylisation nor realism; instead the violence simply tended to happen off-stage, but everything else was realistically presented. The play received mixed reviews with some praising its restraint and others arguing that the suppression

2465:

as Lavinia. Reviews at the time praised Hayes' performance but criticised Walter's as monotonous. Atkins staged the play with a strong sense of Elizabethan theatrical authenticity, with a plain black backdrop, and a minimum of props. Critically, the production met with mixed reviews, some welcoming

1994:

haughty sons,/Confederates all to dishonour me" (ll.301–303). Subsequently, Titus cannot quite believe that Saturninus has chosen Tamora as his empress and again sees himself dishonoured; "Titus, when wert thou wont to walk alone,/Dishonoured thus and challeng'd of wrongs" (ll.340–341). When Marcus

1943:

has always had a central role in criticism of the play insofar as those who doubt Shakespeare's authorship have often pointed to the apparent deficiencies in the language as evidence of that claim. However, the quality of the language has had its defenders over the years, critics who argue that the

1545:

dressed in cap and bells." He goes on to say that if the play had been by anyone other than Shakespeare, it would have been lost and forgotten; it is only because tradition holds that Shakespeare wrote it (which Dover Wilson highly suspects) that it is remembered, not for any intrinsic qualities of

1540:

argued that it was "one of the stupidest and most uninspired plays ever written, a play in which it is incredible that Shakespeare had any hand at all, a play in which the best passages would be too highly honoured by the signature of Peele." In 1948, John Dover Wilson wrote that the play "seems to

728:

in full view of the man. The nobleman pleads with the Moor that he will do anything to save his wife, and the Moor demands he cut off his nose. The man does so, but the Moor kills the wife anyway, and the nobleman dies of shock. The Moor then flings himself from the battlements to avoid punishment.

2685:

as a vicious and maniacal Saturninus received particularly positive reviews. This production took the realistic approach and did not shirk from the more specific aspects of the violence; for example, Lavinia has trouble walking after the rape, which, it is implied, was anal rape. Nunn believed the

2046:

Although not all subsequent scenes are as heavily saturated with references to honour, nobility and virtue as is the opening, they are continually alluded to throughout the play. Other notable examples include Aaron's description of Tamora; "Upon her wit doth earthly honour wait,/And virtue stoops

1146:

too must have been extremely popular in its day, but by 1614, both plays had come to be seen as old fashioned. If Jonson is taken literally, for the play to have been between 25 and 30 years old in 1614, it must have been written between 1584 and 1589, a theory which not all scholars reject out of

292:

the following day, Aaron persuades Demetrius and Chiron to kill Bassianus so that they may rape Lavinia. They do so, throwing Bassianus's body into a pit and dragging Lavinia deep into the forest before violently raping her. To keep her from revealing what has happened, they cut out her tongue and

268:

Meanwhile, Titus refuses the offer of the throne, arguing that he is not fit to rule and instead supporting the claim of Saturninus, who then is duly elected. Saturninus tells Titus that for his first act as emperor, he will marry Titus's daughter Lavinia. Titus agrees, although Lavinia is already

4658:

See Adams (1936: 19–25) for an extensive comparison between the four versions of the play: Q1, Q2, Q3 and F1. See also the various collations to the many modern editions of the play, such as Dover Wilson (1948), Maxwell (1953), Harrison (1958), Barnet (1963, 1989 and 2005), Cross (1966 and 1977),

3236:

as Aaron. In his preface, Ravenscroft wrote "Compare the Old Play with this you'l finde that none in all that Authors Works ever receiv'd greater Alterations or Additions, the language not only Refin'd, but many Scenes entirely New: Besides most of the principal Characters heighten'd and the Plot

2971:

saw Bailey's use of realism as extremely important for the moral of the production as a whole: "violated, her hands and her tongue cruelly cut away, she stumbles into view drenched in blood, flesh dangling from her hacked wrists, moaning and keening, almost animalistic. It's the production's most

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onto the back of the stage. In stark contrast to Bailey's production, theatricality was emphasised; the play begins with the company still rehearsing and getting into costume and the stage hands still putting the sets together. The production followed the 1955 Brook production in its depiction of

1989:

Even when things begin to go awry for the Andronici, each one maintains a firm grasp of his own interpretation of honour. The death of Mutius comes about because Titus and his sons have different concepts of honour; Titus feels the Emperor's desires should have precedence, his sons that Roman law

1860:

Beginning in 1948, with John Dover Wilson, many scholars have tended to favour the theory that Shakespeare and Peele collaborated in some way. Dover Wilson, for his part, believed that Shakespeare edited a play originally written by Peele. In 1957, R. F. Hill approached the issue by analysing the

959:

However, even if the prose was in existence by 1594, there is no solid evidence to suggest the order in which the play, ballad and prose were written and which served as source for which. Traditionally, the prose has been seen as the original, with the play derived from it, and the ballad derived

3947:

Another notable stylistic technique used in the adaptation is multiple addresses direct to camera. For example, Saturninus' "How well the tribune speaks to calm my thoughts" (1.1.46); Tamora's vow to slaughter the Andronici at 1.1.450–455 (thus absolving Saturninus from any involvement); Aaron's

2854:

as Lavinia. Convinced that Act 1 was by George Peele, Alexander felt he was not undermining the integrity of Shakespeare by drastically altering it; for example, Saturninus and Tamora are present throughout, they never leave the stage; there is no division between the upper and lower levels; all

2743:

as Lavinia. Met with almost universally positive reviews, Jonathan Bate regards it as the finest production of any Shakespearean play of the entire 1980s. Using a small cast, Warner had her actors address the audience from time to time throughout the play and often had actors leave the stage and

2528:

for example, wrote "the actor had thought himself into the hell of Titus; we forgot the inadequacy of the words in the spell of the projection." The production is also noted for muting the violence: Chiron and Demetrius were killed off stage; the heads of Quintus and Martius were never seen; the

1865:

in the play. Like Parrott in 1919 and Timberlake in 1931, he ultimately concluded that Peele wrote Act 1, 2.1 and 4.1, while Shakespeare wrote everything else. In 1979, Macdonald Jackson employed a rare word test, and ultimately came to an identical conclusion as Parrott, Timberlake and Hill. In

1563:

from various critical attacks it has had over the years, insisting the play is meant to be a "parody" and it is only bad "if you take it straight". He claims the uneven reactions audiences have had are a result of directors misunderstanding Shakespeare's intent, which was "mocking and exploiting

2886:

as Lavinia. Bailey focused on a realistic presentation throughout the production; for example, after her mutilation, Lavinia is covered from head to toe in blood, with her stumps crudely bandaged, and raw flesh visible beneath. So graphic was Bailey's use of realism that at several productions,

3952:

in 3.1 (ll.187–190 and 201–202); Lucius' "Now will I to the Goths and raise a power,/To be revenged on Rome and Saturnine" (3.1.298–299); Marcus' "O, heavens, can you hear a good man groan" speech (4.1.122–129); Young Lucius' asides in 4.2 (ll.6 and 8–9); Aaron's "Now to the Goths, as swift as

1998:

Other characters also become involved in the affray resulting from the disagreement among the Andronici, and they too are equally concerned with honour. After Saturninus has condemned Titus, Bassianus appeals to him, "This noble gentleman, Lord Titus here,/Is in opinion and in honour wronged"

3650:

shortly after their deaths, where they find themselves in a waiting area with Aaron as their salvation or damnation is decided upon. As they try to come to terms with their unresolved conflict, Aaron serves as a master of ceremonies, initiating a dialogue between them, leading to a series of

1639:

the play could not be performed because it could not be believed. Such is the horror of our own age, with the appalling barbarities of prison camps and resistance movements paralleling the torture and mutilation and feeding on human flesh of the play, that it has ceased to be improbable."

906:

is an entry in the Stationers' Register by the printer John Danter on 6 February 1594, where the entry "A booke intitled a Noble Roman Historye of Tytus Andronicus" is immediately followed by "Entred also vnto him, the ballad thereof". The earliest surviving copy of the ballad is in

8037: 2815:. In his production notes, which Doran co-wrote with Sher, he stated, "Surely, to be relevant, theatre must have an umbilical connection to the lives of the people watching it." One particularly controversial decision was to have the play spoken in indigenous accents rather than 3661:

and directed by George C. Wolfe, began previews at the Booth Theatre on Broadway on 11 March 2019 with an opening of 21 April 2019. The cast included Nathan Lane, Kristine Nielsen, and Julie White and involved servants tasked with cleaning up the carnage from the original play.

1724:

in 1623. As such, with what little available solid evidence suggesting that Shakespeare did indeed write the play, questions of authorship tend to focus on the perceived lack of quality in the writing, and often the play's resemblance to the work of contemporaneous dramatists.

1915:

found that scene 4.1 is in fact by Shakespeare not Peele and that the Fly Scene (3.2), present only in 1623 Folio edition, is a late addition to the play, probably made by Thomas Middleton after Shakespeare died in 1616. These findings are disputed by Darren Freebury-Jones in

1622:

we come to understand – perhaps more than by looking at any other Shakespeare play – the nature of his genius: he gave an inner awareness to passions; cruelty ceased to be merely physical. Shakespeare discovered the moral hell. He discovered heaven as well. But he remained on

1975:, continence and nobility;/But let desert in pure election shine" (ll.13–16). From this point onwards, the concept of nobility is at the heart of everything that happens. H. B. Charlton argues of this opening Act that "the standard of moral currency most in use is honour". 3953:

swallow flies,/There to dispose this treasure in mine arms,/And secretly to greet the Empress' friends" (4.2.172–174); and Tamora's "Now will I to that old Andronicus,/And temper him with all the art I have,/To pluck proud Lucius from the warlike Goths" (4.4.107–109).

2532:

The success of the Brook production seems to have provided an impetus for directors to tackle the play, and ever since 1955, there has been a steady stream of performances on the English and American stages. After Brook, the next major production came in 1967, when

3273:, Volume IV (1878), Charles Durang wrote, "Bannister ably preserved the beauties of its poetry, the intensity of its incidents, and excluded the horrors with infinite skill, yet preserved all the interest of the drama." Nothing else is known about this production. 2466:

the return of the original play to the stage, some questioning why Atkins had bothered when various adaptations were much better and still extant. Nevertheless, the play was a huge box office success, one of the most successful in the Complete Works presentation.

2364:. Although Henslowe does not specify a theatre, it was most likely The Rose. Repeated performances were staged on 28 January and 6 February. On 5 and 12 June, Henslowe recorded two further performances of the play, at the Newington Butts Theatre by the combined 1878:

However, there have always been scholars who believe that Shakespeare worked on the play alone. Many of the editors of the various twentieth century scholarly editions of the play for example, have argued against the co-authorship theory; Eugene M. Waith in his

1874:

line, and she too concluded that Peele wrote Act 1, 2.1 and 4.1. In 1996, Macdonald Jackson returned to the authorship question with a new metrical analysis of the function words "and" and "with". His findings also suggested that Peele wrote Act 1, 2.1 and 4.1.

2787:, Taymor used stone columns to represent the people of Rome, who she saw as silent and incapable of expressing any individuality or subjectivity. Controversially, the play ended with the implication that Lucius had killed Aaron's baby, despite his vow not to. 3034:

as Aaron. Set in an unspecific modern milieu, props were kept to a minimum, with lighting and general staging kept simple, as Edwards wanted the audience to concentrate on the story, not the staging. The production received generally very favourable reviews.

6142: 1510:

was extremely popular in its day, over the course of the 17th, 18th and 19th centuries it became perhaps Shakespeare's most maligned play, and it was only in the latter half of the 20th century that this pattern of denigration showed any signs of subsiding.

1821:

Twentieth century criticism moved away from trying to prove or disprove that Shakespeare wrote the play, and instead came to focus on the issue of co-authorship. Ravenscroft had hinted at this in 1678, but the first modern scholar to look at the theory was

711:

For the scene where Aaron tricks Titus into cutting off one of his hands, the primary source was probably an unnamed popular tale about a Moor's vengeance, published in various languages throughout the sixteenth century (an English version entered into the

2337:, who argues that the language of the play is marked by "an artificial and heavily emblematic style, and above all a revoltingly grotesque series of horrors which seem to have little function but to ironise man's inadequate expressions of pain and loss". 1801:

However, despite the fact that so many Shakespearean scholars believed the play to have been written by someone other than Shakespeare, there were those throughout the eighteenth and nineteenth century who argued against this theory. One such scholar was

3302:. Aaron frees himself however and leaps into the river after the child. At the end, Saturninus poisons Aaron, but as Aaron dies, Lavinia promises to look after his child for him, due to his saving her from rape earlier in the piece. An entire scene from 704:. She rejects Claudius' advances, enraging him, and he has her abducted. However, both Icilius and Verginia's father, famed centurion Lucius Verginius, are respected figures and Claudius is forced to legally defend his right to hold Verginia. At the 1480:

Far from being an acknowledged source of evidence however, the document has provoked varying interpretations, with its date in particular often called into question. The fact that the text reproduced in the drawing seems to borrow from Q1, Q2, Q3

281:. A scuffle breaks out, during which Titus kills his own son, Mutius. Saturninus then denounces the Andronici family for their effrontery and shocks Titus by marrying Tamora. Putting into motion her plan for revenge, Tamora advises Saturninus to 3409:). Of the adaptation he wrote "it represents an attempt to render Shakespeare's early chaotic work fit for the German stage without having the Shakespearean atrocities and grotesqueries passed over in silence." Working from a translation of the 3237:

much incresas'd." The play was a huge success and was revived in 1686, and published the following year. It was revived again in 1704 and 1717. The 1717 revival was especially successful, starring John Mills as Titus, Mrs. Giffard as Tamora,

970:

and Geoffrey Bullough. This theory is by no means universally accepted however. For example, Ralph M. Sargent agrees with Adams and Bullough that the prose was the source of the play, but he argues that the poem was also a source of the play

950:

believes that the original Danter entry in 1594 is not a reference to the play but to the prose, and the subsequent transferrals of copyright relate to the prose, not the play, thus explaining why Pavier never published the play. Similarly,

479:. Similarly, T. J. B. Spencer argues that "the play does not assume a political situation known to Roman history; it is, rather a summary of Roman politics. It is not so much that any particular set of political institutions is assumed in 2933:

violence; actress Hitomi Manaka appeared after the rape scene with stylised red ribbons coming from her mouth and arms, substituting for blood. Throughout the play, at the back of the stage, a huge marble wolf can be seen from which feed

1920:, who provides fresh evidence for Peele's authorship of 4.1 and argues that the Fly Scene, though absent from earlier editions, probably formed part of the original play but was omitted when Shakespeare and Peele's scenes were merged. 1022:

Ultimately, there is no overriding critical consensus on the issue of the order in which the play, prose and ballad were written, with the only tentative agreement being that all three were probably in existence by 1594 at the latest.

3446:

as Lavinia. Theatricality and falseness were emphasised, and when actors were off stage, they could be seen at the sides of the stage watching the performance. The production received lukewarm reviews, and had an average box office.

1090:(referred to by scholars as Q1) for the booksellers Edward White and Thomas Millington, making it the first of Shakespeare's plays to be printed. This evidence establishes that the latest possible date of composition is late 1593. 4596:

For more information on the theory of 1593 editing, see Dover Wilson (1948: xxxiv–xxxv) and Gary Taylor, "The Canon and Chronology of Shakespeare's Plays", in Stanley Wells, Gary Taylor, John Jowett and William Montgomery (eds.),

2810:

as Titus, Dorothy Ann Gould as Tamora, Sello Maake as Aaron and Jennifer Woodbine as Lavinia. Although Doran explicitly denied any political overtones, the play was set in a modern African context and made explicit parallels to

1477:, under which is quoted some dialogue. Eugene M. Waith argues of the illustration that "the gestures and costumes give us a more vivid impression of the visual impact of Elizabethan acting than we get from any other source." 91:, as a slave to the new Roman emperor, Saturninus. Saturninus takes her as his wife. From this position, Tamora vows revenge against Titus for killing her son. Titus and his family retaliate, leading to a cycle of violence. 3948:

soliloquy in 2.1; Aaron's "Ay, and as good as Saturninus may" (2.1.91); Aaron's soliloquy in 2.3; Tamora's "Now will I hence to seek my lovely Moor,/And let my spleenful sons this trull deflower" (2.3.190–191); Aaron's two

2654:) was also used, who, prior to each act, would announce what was going to happen in the upcoming act, thus undercutting any sense of realism. The production received generally positive reviews, with Mildred Kuner arguing " 1397:

is the earliest extant printed Shakespearean play. Q2 also corrects a number of minor errors in Q1. Q3 is a further degradation of Q2, and includes a number of corrections to the Q2 text, but introduces many more errors.

1369:

for Edward White in 1600 (Q2). On 19 April 1602, Millington sold his share in the copyright to Thomas Pavier. However, the next version of the play was published again for White, in 1611, under the slightly altered title

1227:

As such, even amongst scholars who favour a post-1590 date, 1592 is by no means universally accepted. Jacques Berthoud, for example, argues that Shakespeare had close associations with Derby's Men and "it would seem that

663:

and soon ascend to co-inhabit the throne. However, each becomes jealous of the other, and Thyestes tricks Atreus into electing him as the sole king. Determined to re-attain the throne, Atreus enlists the aid of Zeus and

1530:

questioned the possibility of even staging the play, pointing out that "the barbarity of the spectacles, and the general massacre which are here exhibited, can scarcely be conceived tolerable to any audience." In 1811,

1898:

As well as analysing the distribution of a large number of rhetorical devices throughout the play, Vickers also devised three new authorship tests; an analysis of polysyllabic words, an analysis of the distribution of

6127: 2997:, for example, wrote "Blood itself was denoted by spools of red thread spilling from garments, limbs and Lavinia's mouth. Cruelty was stylised; the visceral became the aesthetic." Similarly, Paul Taylor, writing for 2383:

Some scholars, however, have suggested that the January 1594 performance may not be the first recorded performance of the play. On 11 April 1592, Henslowe recorded ten performances by Derby's Men of a play called

1535:

wrote that the play was "framed according to a false idea of the tragic, which by an accumulation of cruelties and enormities, degenerated into the horrible and yet leaves no deep impression behind." In 1927,

987:). G. Harold Metz felt that Mincoff was incorrect and reasserted the primacy of the prose-play-ballad sequence. G.K. Hunter however, believes that Adams, Dover Wilson, Bullough, Sargent, Mincoff and Metz were 3241:

as Aaron, and John Thurmond as Saturninus. The play was revived again in 1718 and 1719 (with John Bickerstaff as Aaron) and 1721 (with Thomas Walker in the role). Quin had left Drury Lane in 1718 and gone to

2719:

predicts the fall of Rome in lines written by Bedford himself. As such, "for affirmation and healing under Lucius the production substituted a sceptical modern theme of evil triumphant and Rome's decadence."

2310:." An entirely different interpretation is that of Jack Reese, who argues that Shakespeare's use of language functions to remove the audience from the effects and implications of violence; it has an almost 2641:

with visual images that recall the richness and depth of primitive rituals." As such, the costumes were purposely designed to represent no particular time or place but were instead based on those of the

3611:

as Titus, Peter Cook as Tamora, Timothy Walter as Aaron and Thomas Campbell as Lavinia. Racism was a major theme in this production, with Aaron initially wearing a gorilla mask, and then poorly applied

2887:

audience members fainted upon Lavinia's appearance. The production was also controversial insofar as the Globe had a roof installed for the first time in its history. The decision was taken by designer

1151:

2nd Series, J.C. Maxwell argues for a date of late 1589. Similarly, E.A.J. Honigmann, in his 'early start' theory of 1982, suggests that Shakespeare wrote the play several years before coming to London

1076:. Henslowe marked the play as "ne", which most critics take to mean "new". There were subsequent performances on 29 January and 6 February. Also on 6 February, the printer John Danter entered into the 2047:

and trembles at her frown" (2.1.10–11). An ironic and sarcastic reference to honour occurs when Bassianus and Lavinia encounter Aaron and Tamora in the forest and Bassianus tells Tamora "your swarthy

765:

Geoffrey Bullough argues that Lucius's character arc (estrangement from his father, followed by banishment, followed by a glorious return to avenge his family honour) was probably based on Plutarch's

3070:

as Lavinia. Emphasising the gore and violence, the production carried a trailer with warnings of "graphic imagery and scenes of butchery". It played at The Swan until October 2013. Also in 2013, the

2491:. While some material was removed from 3.2, 3.3 and 3.4, the rest of the play was left intact, with much attention devoted to the violence and gore. The cast list for this production has been lost. 2219:

held together by sticky sentimentalism". Similarly, Eugene M. Waith determines that the speech is an aesthetic failure that may have looked good on the page but which is incongruous in performance.

3916:

which "seemed like a society where everyone was faceless except for those in power". The production was one of the most lauded plays of the series and garnered almost universally positive reviews.

3936:

was burnt and he made miserable?" (3.2.26–28), Marcus' "What, what! The lustful sons of Tamora/Performers of this heinous, bloody deed" (4.1.78–79), and Titus and Marcus' brief conversation about

2234:, who played Lavinia in the 2003 RSC production, suggests that Marcus "tries to bandage her wounds with language", thus the speech has a calming effect and is Marcus's attempt to soothe Lavinia. 1128:

are the best plays, yet shall pass unexcepted at, here, as a man whose judgement shows it is constant, and hath stood still these five and twenty, or thirty years." The success and popularity of

3548:. Set in both a contemporary and an ancient world predating the Roman Empire, the adaptation begins with a group of salesmen trying to sell real estate; gated communities which they proclaim as 2222:

However, defenders of the play have posited several theories which seek to illustrate the thematic relevance of the speech. For example, Nicholas Brooke argues that it "stands in the place of a

1728:

The first to question Shakespeare's authorship is thought to have been Edward Ravenscroft in 1678, and over the course of the eighteenth century, numerous renowned Shakespeareans followed suit;

1417:

text includes material found in none of the quarto editions, primarily Act 3, Scene 2 (also called the 'fly-killing scene'). It is believed that while Q3 was probably the main source for the

372:. Aaron, however, is unrepentant to the end, regretting only that he did not do more evil in his life. Lucius decides Aaron deserves to be buried chest-deep as punishment and left to die of 475:

has pointed out that the play begins with Titus returning from a successful ten-year campaign against the Goths, as if at the height of the Roman Empire, but ends with Goths invading Rome,

312:

Later, Lavinia writes the names of her attackers in the dirt, using a stick held with her mouth and between her arms. Meanwhile, Aaron is informed that Tamora has secretly given birth to a

3816:

with a budget of $ 12,000, the film is set in a modern business milieu. Saturninus is a corporate head who has inherited a company from his father, and the Goths feature as contemporary

6912: 6089: 3201:. Vos' play focuses on Aaron, who, in the final scene, is burned alive on stage, beginning a tradition amongst adaptations of foregrounding the Moor and ending the play with his death. 1337:

However, if the play was written and performed by 1588 (Hughes), 1589 (Maxwell), 1591 (Berthoud), 1592 (Waith and Taylor), or 1593 (Bate), why did Henslowe refer to it as "ne" in 1594?

558:

However, it is also possible to determine more specific sources for the play. The primary source for the rape and mutilation of Lavinia, as well as Titus' subsequent revenge, is Ovid's

265:

her eldest son, Alarbus, to avenge the deaths of twenty-one of his own sons during the war. Distraught, Tamora and her two surviving sons vow to obtain revenge on Titus and his family.

3808:, directed by Richard Griffin and starring Nigel Gore as Titus, Zoya Pierson as Tamora, Kevin Butler as Aaron and Molly Lloyd as Lavinia, was released direct to video in 2000. Shot on 675:

Another specific source for the final scene is discernible when Titus asks Saturninus if a father should kill his daughter when she has been raped. This is a reference to the story of

3765:). Lionheart abducts Merridew's prized poodles, and bakes them in a pie, which he then feeds to Merridew, before revealing all and force-feeding the critic until he chokes to death. 2400:, who ruled from 79 to 81. The two were subjects of many narratives at the time, and a play about them would not have been unusual. Dover Wilson further argues that the theory that 5585: 3470:). Interspersing the dialogue with a chorus like commentary, the adaptation was heavily political and made reference to numerous twentieth century events, such as the rise of the 427:", who ruled from 379 to 395. On the other hand, the general setting appears to be what Clifford Huffman describes as "late-Imperial Christian Rome", possibly during the reign of 249:, Marcus Andronicus, announces that the people's choice for the new emperor is his brother, Titus, who will shortly return to Rome from a victorious ten-year campaign against the 2771:. The production featured a prologue and epilogue set in the modern era, foregrounded the character of Young Lucius, who acts as a kind of choric observer of events, and starred 2280:

see through his eyes and images. In the process the horror of the situation is filtered through a human consciousness in a way difficult to describe but powerful to experience."

6269:

Detailed overviews of the various changes made by Ravenscroft can be found in Dover Wilson (1948: lxvii–lxviii), Dessen (1989: 7–11), Bate (1995: 48–54) and Hughes (2006: 21–24)

1951:

One of the most basic such motifs is repetition. Several words and topics occur time and again, serving to connect and contrast characters and scenes, and to foreground certain

1830:

or Kyd, with some by Marlow". In 1919, T. M. Parrott reached the conclusion that Peele wrote Act 1, 2.1 and 4.1, and in 1931, Philip Timberlake corroborated Parrott's findings.

837:(1589), which contains the line "the Roman prince did daunt/Wild Africans and the lawless Alarbes." G. K. Hunter has suggested Shakespeare may have taken Saturninus's name from 1204:

and Sussex's Men ("As it was Plaide by the Right Honourable the Earle of Darbie, Earle of Pembrooke, and Earle of Suſſex their Seruants"). This is highly unusual in copies of

1174:

edition of 1994 and again in 2006, Alan Hughes makes a similar argument, believing the play was written very early in Shakespeare's career, before he came to London, possibly

1192:

However, the majority of scholars tend to favour a post-1590 date, and one of the primary arguments for this is that the title page of Q1 assigns the play to three different

364:. When Saturninus answers that he should, Titus kills Lavinia and tells Saturninus of the rape. When the Emperor calls for Chiron and Demetrius, Titus reveals that they were 1349:

seem to indicate editing. However, that "ne" does actually stand for "new" is not fully accepted; in 1991, Winifred Frazer argued that "ne" is actually an abbreviation for "

3346: 744:

from 1403 to 1407, but, since there is no reason to suppose that Shakespeare might have come across these emperors, it is more likely that he took the name from the story "

2972:

powerful symbolic image, redolent of the dehumanising effects of war." Of Ninagawa's production, some critics felt the use of stylisation damaged the impact of the scene.

2937:, with the implication being that Rome is a society based on animalistic origins. The play ends with Young Lucius holding Aaron's baby out to the audience and crying out " 2723:

A celebrated, and unedited production, (according to Jonathan Bate, not a single line from Q1 was cut) was directed by Deborah Warner in 1987 at The Swan and remounted at

3314:

on 26 April. It was generally agreed amongst reviewers of the period that the Aldridge/Somerset rewrite was considerably superior to Shakespeare's original. For example,

69:, believed to have been written between 1588 and 1593. It is thought to be Shakespeare's first tragedy and is often seen as his attempt to emulate the violent and bloody 3903:, but she ultimately settled on a more conventional approach. All the body parts seen throughout were based upon real autopsy photographs, and were authenticated by the 3039: 2260:

In contradistinction to Dover Wilson and Waith, several scholars have argued that while the speech may not work on the page, it can work in performance. Discussing the

3674: 2538: 1249: 3334: 3304: 1101:

so he could make a facsimile. This arrangement, brokered by David Laing, eventually led to Halliwell-Phillips donating a vast collection of books and manuscripts to

934:

records from the Stationers' Register in Shakespeare's own lifetime provide some tenuous evidence regarding the dating of the prose. On 19 April 1602, the publisher

3189:, which was published in 1641, and republished in 1642, 1644, 1648 and 1649, illustrating its popularity. The play may have been based on a 1621 work, now lost, by 2333:." An example of this is seen in the body politic/dead body imagery early in the play, as the two images soon become interchangeable. Another theory is provided by 2617: 2426:

Although it is known that the play was definitely popular in its day, there is no other recorded performance for many years. In January 1668, it was listed by the

1971:, patrons of my right" (l.1). In the second speech of the play, Bassianus states "And suffer not dishonour to approach/The imperial seat, to virtue consecrate,/To 938:

sold his share in the copyright of "A booke intitled a Noble Roman Historye of Tytus Andronicus" (which Danter had initially entered into the Register in 1594) to

4053:(Waith), based on the Q1 text of 1594 (except 3.2, which is based on the folio text of 1623). Under its referencing system, 4.3.15 means act 4, scene 3, line 15. 5876: 3646:, the title of which is taken from Titus' claim to be able to understand the mute Lavinia. Focusing on the backstories of Tamora and Lavinia, the play is set in 3190: 2827:

went far beyond the play itself many of the tensions that exist in the new South Africa; the gulf of mistrust that still exists between blacks and whites ...

1806:, who, in 1768, said that the play was badly written but asserted that Shakespeare did write it. Another major scholar to support Shakespeare's authorship was 754: 5825: 1019:, Alan Hughes also argues for the original prose-play-ballad theory, but hypothesizes that the source for the ballad was exclusively the prose, not the play. 571:), which is featured in the play itself when Lavinia uses it to help explain to Titus and Marcus what happened to her during the attack. In the sixth book of 6189:

All information taken from Hughes (2006: 47–50). For more information on the Stein and Mesguich productions see Dominique Goy-Blanquet's "Titus resartus" in

3506: 3167: 2910:

Hitomi Manaka as Lavinia in Yukio Ninagawa's 2006 production at the Royal Shakespeare Theatre; note the use of red ribbons as a stylised substitute for blood

942:. The orthodox belief is that this entry refers to the play. However, the next version of the play to be published was for Edward White, in 1611, printed by 3122: 1907:. His findings led him to assert that Peele wrote Act 1, 2.1 and 4.1. Vickers' findings have not been universally accepted. Subsequent investigation by the 1465:

is the so-called 'Peacham drawing' or 'Longleat manuscript'; the only surviving contemporary Shakespearean illustration, now residing in the library of the

8896: 3677:

in Denver, Colorado four times between 2002 and 2007. Staged as a band of travelling thespian players who are attempting to put on a serious production of

2991:

music, unduly aestheticised violence." Some critics, however, felt the stylisation was more powerful than Bailey's realism; Neil Allan and Scott Revers of

1967:, all of which are mentioned multiple times throughout the play, especially during the first act; the play's opening line is Saturninus' address to "Noble 4032:

staged an adaptation by Kurt Klinger, starring Romuald Pekny as Titus, Marion Degler as Tamora, Wolfgang Böck as Aaron and Elisabeth Augustin as Lavinia.

3078:. The production contrasted a military and modern Goth culture, but quickly disintegrated into an anarchic state, stressing the black comedy of the play. 2298:

Looking at the language of the play in a more general sense has also produced a range of critical theories. For example, Jacques Berthoud argues that the

6514: 3499: 2454: 1013:(edited by Sonia Massai), Jacques Berthoud agrees with Waith and settles on the initial prose-play-ballad sequence. In his 2006 revised edition for the 716:

in 1569 has not survived). In the story, a married nobleman with two children chastises his Moorish servant, who vows revenge. The servant goes to the

5676: 3110: 3027: 1277:. Then, towards the end of 1593, with the prospect of the theatres being reopened, and with the classical material still fresh in his mind, he wrote 821:

as he attempts to settle his people in Latium. A. C. Hamilton speculates that the name of Tamora could have been based upon the historical figure of

505:, which took figures and events from history and spun fictional tales around them. In Shakespeare's lifetime, a writer known for doing likewise was 4893:

The Feminine Ending in English Blank Verse: A Study of its Use by Early Writers in the Measure and its Development in the Drama up to the Year 1595

3295: 2772: 2478: 845:, which features a jealous and violent tribune named Saturninus. On the other hand, Waith speculates that Shakespeare may have been thinking of an 1409:, is based primarily on the Q3 text (which is why modern editors use Q1 as the control rather than the usual practice in Shakespeare of using the 8999: 6446: 4517: 4009: 3996:

radio, performed by the Cardiff Station Repertory Company as the second episode of a series of programs showcasing Shakespeare's plays, entitled

3635:, it starred Andy Ng Wai-shek as Titus, Ivy Pang Ngan-ling as Tamora, Chu Pak-hong as Aaron and Lai Yuk-ching as Lavinia. Performed entirely in 423:

is set may not be based on a real historical period. According to the prose version of the play (see below), the events are "set in the time of

301:

Titus's sons Martius and Quintus for the murder of Bassianus. Horrified at the death of his brother, Saturninus arrests Martius and Quintus and

9052: 7468: 6851:

For more information on this production, see Dessen (1989: 44–48). For a detailed overview of the production process itself, see Susan Willis,

6702:

José Ramón Díaz Fernández, "The Roman Plays on Screen: An Annotated Filmo-Bibliography", in Sarah Hatchuel and Nathalie Vienne-Guerrin (eds.),

3911:. For the scene when Chiron and Demetrius are killed, a large carcass is seen hanging nearby; this was a genuine lamb carcass purchased from a 2740: 2035:

The irony here, of course, is that her false appeal to honour is what begins the bloody cycle of revenge which dominates the rest of the play.

1485:

F1, while also inventing some of its own readings, further complicates matters. Additionally, a possible association with Shakespearean forger

1003:, Eugene M. Waith rejects Hunter's theory and supports the original prose-play-ballad sequence. On the other hand, in his 1995 edition for the 6799:

José Ramón Díaz Fernández, "The Roman Plays on Screen: An Annotated Filmo-Bibliography", in Sarah Hatchuel and Nathalie Vienne-Guerrin (eds.)

6103: 4574:

See Gary Taylor, "The Canon and Chronology of Shakespeare's Plays", in Stanley Wells, Gary Taylor, John Jowett and William Montgomery (eds.),

3932:

residence in Rome. Other examples include Titus' "Ah, wherefore dost thou urge the name of hands,/To bid Aeneas tell the tale twice o'er,/How

1810:

in 1843. Several years later, a number of prominent German Shakespeareans also voiced their belief that Shakespeare wrote the play, including

8138: 3673:, written by Brian Colonna, Erik Edborg, Hannah Duggan, Erin Rollman, Evan Weissman, Matt Petraglia, and Samantha Schmitz, was staged by the 2748: 2589:

rained down onto the stage. The play received mixed reviews with many critics wondering why Seale had chosen to associate the Andronici with

1849:, who successfully exposed inherent flaws in Robertson's methodology. In 1933, Arthur M. Sampley employed the techniques of Parrott to argue 1826:

in 1905, who concluded that "much of the play is written by George Peele, and it is hardly less certain that much of the rest was written by

732:

Shakespeare also drew on various sources for the names of many of his characters. For example, Titus could have been named after the Emperor

8078: 7487: 1541:

jolt and bump along like some broken-down cart, laden with bleeding corpses from an Elizabethan scaffold, and driven by an executioner from

5615: 2987:

s Michael Billington, who had praised Bailey's use of realistic effects, wrote "At times I felt that Ninagawa, through stylised images and

2462: 2377: 792:, arguing that "the man who led the people in their uprising was Lucius Junius Brutus. This is the role that Lucius fulfills in the play." 257:, bearing with him as prisoners Tamora, Queen of the Goths, her three sons Alarbus, Chiron, and Demetrius, and her secret lover, Aaron the 5574: 3558:

is represented as governing nature, but is losing her power to the melancholic and uninterested Saturn, leading to a society rampant with

7850: 3082: 2899:– a cooling system which consisted of a canvas-covered, net-like structure made of ropes, with a hole in the centre. Dudley made it as a 1784:. All doubted Shakespeare's authorship. So strong had the anti-Shakespearean movement become during the eighteenth century that in 1794, 517:, and who could have served as an indirect source for Shakespeare. So, too, could the first major English author to write in this style, 9288: 8617: 8554: 8549: 3357:

on 11 November, Harold Hobson wrote the stage was full of "practically the whole company waving gory stumps and eating cannibal pies".

2945:

Japanese staging so stylised that it keeps turning the horror into visual poetry." Speaking of Bailey's production, Eleanor Collins of

1698:

Perhaps the most frequently discussed topic in the play's critical history is that of authorship. None of the three quarto editions of

4437: 3142:

The first known adaptation of the play originated in the later years of the sixteenth century. In 1620, a German publication entitled

1281:

as his first tragedy, shortly after reading Nashe's novel and Peele's poem, all of which suggests a date of composition of late 1593.

892: 9596: 8954: 7717: 2566: 1009:

3rd Series, Jonathan Bate favours Mincoff's theory of play-ballad-prose. In the introduction to the 2001 edition of the play for the

105:. Its reputation began to improve around the middle of the 20th century, but it is still one of Shakespeare's least respected plays. 1794:, "Shakespeare's memory has been fully vindicated from the charge of writing the play by the best critics." Similarly, in 1832, the 3984:

features a character originally named Ronald Wilkerson that changed his name to Titus Andromedon, possibly derived from this play.

3975:

cooks in chili, which he feeds to Scott. He then gleefully reveals his deception as Scott finds his mother's finger in the chilli.

1097:

Heritage Collection. This was donated by William Hog in 1700. In the 1860s this copy was lent to Shakespeare scholar and Collector

7157:

Bryant Jr., Joseph Allen. "Aaron and the Pattern of Shakespeare's Villains" in Dale B. J. Randall and Joseph A. Porter (editors),

9230: 8908: 1551: 1265:

trilogy prior to the closing of the theatres in June 1592. At this time, he turns to classical antiquity to aid him in his poems

1254: 610:

For the scene where Lavinia reveals her rapists by writing in the sand, Shakespeare may have used a story from the first book of

3353:, the production edited together all of the violent scenes, emphasised the gore, and removed Aaron entirely. In a review in the 2553:, and thus comment on the universality of violence and revenge. Seale set the play in the 1940s and made pointed parallels with 9070: 8969: 6558: 3708: 1425:'s copy was also used, particularly in relation to stage directions, which differ significantly from all of the quarto texts. 864:

Shakespeare most likely took the names of Caius, Demetrius, Marcus, Martius, Quintus, Æmilius, and Sempronius from Plutarch's

626:, she attempts to tell him who she is but is unable to do so until she thinks to scratch her name in the dirt using her hoof. 9065: 8497: 7304: 5157: 5037: 3483: 1584:

a star actor." By 2001 however, this was no longer the case, as many prominent scholars had come out in defence of the play.

1526:'tis the most incorrect and indigested piece in all his works. It seems rather a heap of rubbish than a structure." In 1765, 273:

to Saturninus's brother, Bassianus, who refuses to give her up. Titus's sons tell Titus that Bassianus is in the right under

4804: 2063:

believes it will save his sons' lives he says, "Lend me thy hand, and I will give thee mine." Therefore, in the language of

8566: 7536: 6486: 2980:, for example, asked "is it enough to suggest bloodletting by having red ribbons flow from wrists and throats?" Similarly, 981:

rejects both theories, arguing instead that the play came first, and served as a source for both the ballad and the prose (

720:

tower where the man's wife and children live, and rapes the wife. Her screams bring her husband, but the Moor pulls up the

6612: 5755: 3109:'s 1989 production in Paris, which set the entire play in a crumbling library, acting as a symbol for Roman civilisation; 1549:

However, although the play continued to have its detractors, it began to acquire its champions as well. In his 1998 book,

1357:, amongst others, finds Frazer's arguments convincing, which renders interpretation of Henslow's entry even more complex. 9143: 8646: 8505: 3360:

In 1957 the Old Vic staged a heavily edited ninety-minute performance as part of a double bill with an edited version of

2665:

directed an RSC production at the Royal Shakespeare Theatre, as part of a presentation of the four Roman plays, starring

1267: 9418: 6643: 6164: 3869: 3129:(this production is one of the most successful plays ever staged in Romania, and it was revived every year up to 1997). 875:, better known as Caracalla, who, like Bassianus in the play, fights with his brother over succession, one appealing to 9601: 9576: 9571: 6585: 3151:

Eine sehr klägliche Tragaedia von Tito Andronico und der hoffertigen Käyserin darinnen denckwürdige actiones zubefinden

1790: 5890: 4315:

For an extensive examination of the complex copyright history of the play and prose, see Adams (1936) and W. W. Greg,

2441:

After over 300 years absence from the English stage, the play returned on 8 October 1923, in a production directed by

9255: 9009: 8979: 8131: 5053: 4078: 3163: 3075: 2862:

Laura Rees as Lavinia in Lucy Bailey's 2006 production at Shakespeare's Globe; note the 'realistic' effects and blood

2449:, as part of the Vic's presentation of the complete dramatic works over a seven-year period. The production featured 2329:

use of certain words complements their literal counterparts. This, however, "disrupts the way the audience perceives

1261:

on 26 June 1593. Bate takes these three pieces of evidence to suggest a timeline which sees Shakespeare complete his

8009: 5814: 3865:, starring Leo Lastumäki as Titus, Iris-Lilja Lassila as Tamora, Eugene Holman as Aaron and Maija Leino as Lavinia. 2647: 2494:

The best known and most successful production of the play in England was directed by Peter Brook for the RSC at the

2388:, which some, such as E. K. Chambers, have identified with Shakespeare's play. Most scholars, however, believe that 1935:

illustration of Lucius telling his father the tribunes have left, from Act 3, Scene 1; engraved by N. le Mire (1785)

9581: 9047: 9042: 8974: 7905: 7279: 3554:, where women and children are secure from "theft, rape and kidnapping". Mythology is important in the adaptation; 1785: 1650:'s illustration of Aaron protecting his son from Chiron and Demetrius in Act 4, Scene 2; engraved by J. Hogg (1799) 1354: 6419: 6336:

All information taken from Lukas Erne, "Lamentable tragedy or black comedy?: Frederick Dürrenmatt's adaptation of

2545:

with costumes that recalled the various combatants in World War II. Seale's production employed a strong sense of

946:, thus prompting the question of why Pavier never published the play despite owning the copyright for nine years. 9591: 9566: 9022: 9017: 8937: 6719:: Staging the Mutilated Roman Body", in Maria Del Sapio Garbero, Nancy Isenberg and Maddalena Pennacchia (eds.), 6471:

Yong Li Lan, "Tang Shu-wing's titus and the acting of violence", in Susan Bennett and Christie Carson (editors),

3907:. The costumes of the Goths were based on punk outfits, with Chiron and Demetrius specifically based on the band 3386:

as Saturninus. Performed in the manner of a traditional Elizabethan production, the play received mixed reviews.

2326: 5413:(London: Barry Rocklith, 1965), 235–237. An overview of the production can also be found in Dessen (1989: 14–23) 2759:

as Titus, Molly Maycock as Tamora, Elizabeth Atkeson as Lavinia, and an especially well-received performance by

1673:, agreed and stated: "It is the Shakespeare play for our time, a work of art that speaks directly to the age of 9586: 9464: 9281: 8989: 8761: 8576: 8536: 3690: 2695: 1690: 908: 353:, respectively) approach Titus in order to persuade him to have Lucius remove his troops from Rome. Tamora (as 3487: 2042:

Thomas Kirk illustration of Young Lucius fleeing from Lavinia in Act 4, Scene 1; engraved by B. Reading (1799)

1928: 1635:

speculates as to why the fortunes of the play have begun to change during the 20th century: "in the civilised

495:

In his efforts to fashion general history into a specific fictional story, Shakespeare may have consulted the

9561: 8890: 3919: 2916: 2839: 2799: 935: 4317:

A Bibliography of the English Printed Drama to the Restoration, Volume 1: Stationers' Records, Plays to 1616

2866:

In 2006, two major productions were staged within a few weeks of one another. The first opened on 29 May at

1284:

Other critics have attempted to use more scientific methods to determine the date of the play. For example,

241:

Shortly after the death of the Roman emperor, his two sons, Saturninus and Bassianus, quarrel over who will

9319: 9245: 9112: 8928: 8581: 8229: 8173: 8124: 6016:

Agnès Lafont, "Mythological reconfigurations on the contemporary stage: Giving a New Voice to Philomela in

5665: 3608: 3592: 3392:, for example, felt that the juxtaposition of the blood tragedy and the frothy comedy was "ill-conceived". 3118: 2487: 2419: 1944:

play is more linguistically complex than is often thought, and features a more accomplished use of certain

1102: 1080:"A booke intitled a Noble Roman Historye of Tytus Andronicus". Later in 1594, Danter published the play in 115: 76: 6773:

Shakespeares After Shakespeare: An Encyclopaedia of the Bard in Mass Media and Popular Culture, Volume One

1837:

Illustration of Aaron protecting his son from Chiron and Demetrius in Act 4, Scene 2; from Joseph Graves'

1320:. He also argues that 3.2, which is only found in the 1623 Folio text, was written contemporaneously with 9606: 8918: 8879: 8866: 8740: 8272: 7984: 7783: 6785:

Chatterjee, Bornila (director), Naseeruddin Shah, Tisca Chopra, Neeraj Kabi (actors) (7 September 2017).

3426: 3156:

A most lamentable tragedy of Titus Andronicus and the haughty empress, wherein are found memorable events

3015: 2928:

as Aaron and Hitomi Manaka as Lavinia. Performed in Japanese, the original English text was projected as

2469:

The earliest known performance of the Shakespearean text in the United States was in April 1924 when the

2458: 1798:

claimed there was universal agreement on the matter due to the un-Shakespearean "barbarity" of the play.

1757: 1753: 1205: 1114: 736:, who ruled Rome from 79 to 81. Jonathan Bate speculates that the name 'Andronicus' could have come from 237:

illustration of Aaron cutting off Titus's hand in Act 3, Scene 1; engraved by Gerard Van der Gucht (1740)

6034: 4864:

See Vickers (2002: 150–156) for a summary of the pre-20th century pro- and anti-Shakespearean arguments.

3424:

followed the 1957 Old Vic model and directed a heavily edited version of the play as a double bill with

1618:

can seem ridiculous. But I have seen it on the stage and found it a moving experience. Why? In watching

234: 9469: 9086: 8804: 8632: 8571: 8531: 8222: 8201: 5983: 5797: 3874: 3600: 3379: 3071: 3055:) as Titus, Stephanie Roth Haberle as Tamora, Ron Cephas Jones as Aaron and Jennifer Ikeda as Lavinia. 3019: 2948: 2422:

illustration of Quintus trying to help Martius from the hole in Act 2, Scene 3; engraved by Hall (1785)

2346: 1807: 1386: 1108:

There is evidence, however, that the play may have been written some years earlier than this. In 1614,

930:(the ballad was also included in the chapbook), however it is believed to be much older than that. The 639:, written in the first century AD. In the mythology of Thyestes, which is the basis for Seneca's play, 452: 7724:

Pruitt, Anna. "Refining the LION Collocation Test: A Comparative Study of Authorship Test Results for

5089:

Kendall, Gillian Murray (Autumn 1989). "'Lend Me Thy Hand': Metaphor and Mayhem in Titus Andronicus".

9551: 9475: 9274: 9105: 9100: 9057: 8933: 8731: 6954:(Signet Classic Shakespeare; New York: Signet, 1963; revised edition, 1989; 2nd revised edition 2005) 5161: 3980: 3904: 3221: 2953:, said of the scene, "audience members turned their heads away in real distress". Charles Spencer of 2888: 2835: 2682: 2495: 2369: 1891:

edition of 1995. In the case of Bate however, in 2002, he came out in support of Brian Vickers' book

1827: 1239: 1221: 1098: 1015: 903: 538: 365: 24: 7289:

Greene, Darragh. "'Have we done aught amiss?': Transgression, Indirection and Audience Reception in

6825:

For much factual information on this production, see Mary Z. Maher, "Production Design in the BBC's

4694:

For a thorough overview of the early critical history of the play, see Dover Wilson (1948: vii–xix).

1667:

a play written for today, it reeks of now". Jonathan Forman, when he reviewed Taymor's film for the

1610:

is a much more cruel play. In the whole Shakespearean repertory I can find no scene so revolting as

8964: 8913: 8903: 8884: 8871: 8611: 8243: 3813: 3793:

as Tamora, Harry Lennix as Aaron (reprising his role from Taymor's 1994 theatrical production) and

3125:'s 1992 Romanian production, which explicitly avoided using the play as a metaphor for the fall of 2812: 2768: 2585:

uniforms; the murders in the last scene are all carried out by gunfire, and at the end of the play

2290:

illustration of Tamora watching Lavinia dragged away to be raped, from Act 2, Scene 3; engraved by

1968: 1854: 1489:

has served to undermine its authenticity, while some scholars believe it depicts a play other than

947: 768: 737: 518: 9266: 6061: 5917: 858: 9434: 8687: 8251: 7427: 6930: 5980:, directed by Yukio Ninagawa for The Ninagawa Company, Royal Shakespeare Theatre, 21 June 2006", 5637: 3967: 3624: 3414: 3243: 2306:

included, functions as a network of responses and reactions. primary and consistent function is

1811: 1781: 1532: 1514:

One of the earliest critical disparagements of the play occurred in 1687, in the introduction to

1382: 1366: 1316:, which he assigns to late 1591 or early 1592. As such, Taylor settles on a date of mid-1592 for 1094: 713: 697: 73:

of his contemporaries, which were extremely popular with audiences throughout the 16th century.

20: 7274:

Shakespeare's Borrowed Feathers: How Early Modern Playwrights Shaped the World's Greatest Writer

6202:

See Dover Wilson (1948: xl–xli), Waith (1984: 7) and Bate (1995: 44–48) for more information on

5727: 5030:

Shakespeare's Borrowed Feathers: How Early Modern Playwrights Shaped the World's Greatest Writer

3761:

in a Shakespeare play. One such act of revenge involves the critic Meredith Merridew (played by

3396: 2256:

is the ultimate means by which man seeks to order and control his precarious and unstable world.

1432:

involves a combination of material from Q1 and F1, the vast majority of which is taken from Q1.

501:, a well known thirteenth-century collection of tales, legends, myths, and anecdotes written in 9611: 9515: 9117: 8844: 8782: 8702: 8625: 8236: 8215: 8155: 7642: 7374: 7192: 6536: 5400:

See Dessen (1989: 17–19) for a cross section of reviews concentrating on the music and Olivier.

3937: 3712: 3421: 3098: 3074:

staged a production directed by Jon Ciccarelli as part of a special Halloween festival for the

2988: 2867: 2816: 2795: 2752: 2582: 1729: 1542: 999: 991:

wrong, and the play was the source for the prose, with both serving as sources for the ballad (

656: 329: 7772:

Sacks, Peter. "Where Words Prevail Not: Grief, Revenge, and Language in Kyd and Shakespeare",

7034:(The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1994; 2nd edition 2006) 2210:

Edward Smith illustration of Lavinia pleading with Tamora for mercy from Act 2, Scene 3 (1841)

9365: 9209: 9123: 9092: 8994: 8657: 8388: 8298: 8279: 7663: 7339: 7222: 7083: 7058: 6999: 5091: 4085:

Provides extensive information on the likes and dislikes of theatrical audiences at the time.

3941: 3728: 3491: 3262: 3213: 3052: 2819:, which allegedly resulted in many white South Africans refusing to see the play. Writing in 2442: 1293: 1285: 1197: 829:

queen. Eugene M. Waith suggests that the name of Tamora's son, Alarbus, could have come from

784:

into Britain. On the other hand, Jonathan Bate hypothesises that Lucius could be named after

681: 622:, where, to prevent her from divulging the story, he turns her into a cow. Upon encountering 62: 8048: 7841: 5950: 3276: 2914:

The second 2006 production opened at the Royal Shakespeare Theatre on 9 June as part of the

9556: 9032: 8819: 8797: 8377: 8328: 8307: 8287: 8187: 8164: 7418: 5912: 3891: 3362: 3247: 2973: 2703: 2140: 1867: 1647: 1611: 785: 436: 405: 399: 7299:

Ed. Rory Loughnane and Edel Semple. (New York: Palgrave Macmillan, 2013), pp. 63–75.

3126: 2554: 1575:

Another champion came in 2001, when Jacques Berthoud pointed out that until shortly after

8: 9297: 9203: 9185: 8984: 8826: 8790: 8723: 8680: 8639: 8208: 8147: 6674: 6098: 5848: 5820: 5699: 5671: 5607: 5580: 4614:, 38:1 (Spring, 1991), 34–35, and Vickers (2002: 149) for more information on this theory 4001: 3316: 3258: 3090: 2955: 2756: 2435: 1565: 1520:

Titus Andronicus, or the Rape of Lavinia. A Tragedy, Alter'd from Mr. Shakespeare's Works

1350: 1273: 1258: 1134: 339:. Convinced of Titus's madness, Tamora, Demetrius, and Chiron (dressed as the spirits of 242: 66: 3226:

Titus Andronicus, or the Rape of Lavinia. A Tragedy, Alter'd from Mr. Shakespeares Works

1978:

When Marcus announces Titus' imminent arrival, he emphasises Titus' renowned honour and

97:

was initially very popular, but by the later 17th century it was not well esteemed. The

9528: 9197: 9155: 9037: 8775: 8673: 8478: 7678: 7624:

McCandless, David. "A Tale of Two Tituses: Julie Taymor's Vision on Stage and Screen",

7006: 6994: 5704: 5108: 5047: 4067: 4004:

aired a 130-minute version of the play, adapted for radio by J. C. Trewin and starring

3588: 3350: 3094: 3043: 2900: 2834:

For the first time since 1987, the RSC staged the play in 2003, under the direction of

2546: 2265: 1932: 1600: 1515: 1486: 1422: 1184: 1093:

One of the two known copies of the second edition of Titus Andronicus is a part of The

1073: 1036: 749: 668:, and has Thyestes banished from Mycenae. Atreus subsequently discovers that his wife, 630: 510: 476: 302: 190: 2074:

is complete without reference to Marcus's speech upon finding Lavinia after her rape:

9389: 9167: 8485: 8412: 8404: 8110: 8094: 8003: 7300: 7136: 7128: 5033: 4659:

Waith (1984), Hughes (1994 and 2006), Bate (1995), MacDonald (2000) and Massai (2001)

4074: 3809: 3555: 3257:

In January and February 1839 an adaptation written and directed by and also starring

2938: 2934: 2847: 2784: 2728: 2605: 2431: 2316: 1952: 1945: 1871: 1862: 1304:. Taylor concludes that the entire play except Act 3, Scene 2 was written just after 1201: 1138:, to which Jonson alludes, is attested by many contemporary documents, so by placing 1005: 777: 635: 552: 530: 7669:(London: Oxford University Press, 1953; 2nd edn. edited by Robert D. Eagleson, 1986) 7269:(Cambridge: Cambridge University Press, 1961; 2nd edn. edited by Foakes alone, 2002) 3992:

The play has very rarely been staged for radio. In 1923, extracts were broadcast on

3923:

Young Lucius stares at the body of Aaron's baby in Jane Howell's adaptation for the

3290:

The most successful adaptation of the play in Britain premiered in 1850, written by

2360:

was on 24 January 1594, when Philip Henslowe noted a performance by Sussex's Men of

1212:, Derby's Men sold the play to Pembroke's Men, who were going on a regional tour to 9191: 9179: 9173: 8768: 8695: 8595: 8469: 8462: 8454: 8431: 8424: 8397: 8356: 7672:

Palmer, D. J. "The Unspeakable in Pursuit of the Uneatable: Language and Action in

5479:

A cross section of reviews of this production can be found in Dessen (1989: 48–50).

5100: 4778:; Contemporary Shakespeare Series (Maryland: University of America Press, 1987), 15 4017: 3900: 3834: 3748: 3736: 3596: 3584: 3576: 3518: 3443: 3310: 3229: 3059: 2736: 2655: 2643: 2570: 2499: 2427: 2408:

probably originated in an 1865 English translation of a 1620 German translation of

2365: 2287: 1773: 1674: 1606: 1466: 1322: 1312: 1306: 1253:

are also important for Bate. The poem was written to celebrate the installation of

1209: 867: 830: 514: 102: 7294: 7237:

The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769

5165: 3451: 415:, all of which are based on real historical events and people (or, in the case of 9507: 9459: 9397: 8947: 8559: 8447: 8363: 7989: 7762: 7746: 7166:

Narrative and Dramatic Sources of Shakespeare (Volume 6): Other 'Classical' Plays

6984: 6137: 6132:

carries heavy warning as production ups the blood-squirting gore Tarantino-style"

6003: 5761: 4808: 4508: 4021: 4005: 3817: 3799: 3786: 3769: 3732: 3513:

version of the play at the Stratford Shakespeare Festival, in a double bill with

3431: 3383: 3375: 3233: 3106: 3023: 2999: 2843: 2776: 2724: 2707: 2674: 2670: 2621: 2597: 2562: 2474: 2470: 2373: 2005: 1823: 1777: 1745: 1456: 1193: 1065: 1061: 967: 960:

from both play and prose. Adams Jr., for example, firmly believed in this order (

506: 497: 270: 262: 8064: 6193:, edited by Dennis Kennedy (Cambridge: Cambridge University Press, 1993), 36–76. 3862: 3529: 2906: 2302:

of the play is explicitly bound up with its theme; "the entire dramatic script,

1188:

First page of the second edition of William Shakespeare's Titus Andronicus, 1600

1052:

Title page of the second edition of William Shakespeare's Titus Andronicus, 1600

896: 700:, begins to lust after Verginia, a plebeian girl betrothed to a former tribune, 9522: 8440: 8180: 7801: 7537:"Language of Extremities/Extremities of Language: Body Language and Culture in 7324: 7020: 7010: 4513: 4502: 3883: 3833:

by director Bornilla Chatterjee set in contemporary New Delhi, India. It stars

3753: 3716: 3694: 3435: 3182: 3048: 2921: 2760: 2732: 2578: 2558: 2507: 2450: 2334: 2311: 2273: 2261: 1846: 1815: 1769: 1765: 1761: 1741: 1737: 1733: 1708: 1527: 1213: 789: 701: 615: 460: 448: 431:(527–565). Also favouring a later date, Grace Starry West argues, "the Rome of 7964:

Wynne-Davies, Marion. ""The swallowing womb": Consumed and Consuming Women in

7861:?: Automated Searches and Deep Reading" in Gary Taylor and Gabriel Egan (eds) 7781:

Sampley, Arthur M. "Plot Structure in Peele's Plays as a Test of Authorship",

3882:, the play was the thirty-seventh and final episode of the series and starred 2783:

as Aaron and Miriam Healy-Louie as Lavinia. Heavily inspired in her design by

857:(1503), which states that Saturnine men (i.e. men born under the influence of 9545: 9501: 9377: 9215: 9161: 8923: 8265: 8024: 7926:

West, Grace Starry. "Going by the Book: Classical Allusions in Shakespeare's

7767:

Shakespeare on the Stage: An Illustrated History of Shakespearean Performance

7610: 7079: 6967: 6957: 6947: 6651: 5506:

An extensive overview of this production can be found in Dessen (1989: 57–70)

4832: 4025: 4012:

as Tamora, George Hayes as Aaron and Janette Tregarthen as Lavinia. In 1973,

3887: 3790: 3762: 3757: 3743: 3632: 3522: 3495: 3439: 3371: 3342: 3330: 3081:

Outside Britain and the United States, other significant productions include

3067: 3063: 2875: 2791: 2716: 2699: 2666: 2651: 2574: 2534: 2503: 2482: 2307: 2269: 2038: 1904: 1803: 1749: 1717: 1713: 1703: 1669: 1636: 1301: 1297: 978: 939: 876: 773: 724:

before the nobleman can gain entry. The Moor then kills both children on the

560: 526: 472: 440: 361: 254: 150: 98: 32: 8065:"Roman or Revenger?: The Definition and Distortion of Masculine Identity in 6589: 2573:

and all his followers dressed entirely in black; Titus was modelled after a

324:

Illustration of the death of Chiron and Demetrius from Act 5, Scene 2; from

9496: 9481: 9426: 9347: 9149: 8851: 8515: 7955: 7937:

Wells, Stanley; Taylor, Gary; with Jowett, John & Montgomery, William.

7262: 7112: 7027:(The New Penguin Shakespeare; London: Penguin, 1958; revised edition, 1995) 6900:

The Deep End of South Park: Critical Essays on TV's Shocking Cartoon Series

6682: 6620: 6491: 6066: 5988:, Special Issue: The Royal Shakespeare Company Complete Works (2007), 39–41 5955: 5853: 3971: 3846: 3838: 3794: 3781: 3698: 3471: 3291: 3266: 3011: 2961: 2879: 2803: 2780: 2678: 2638: 2609: 2525: 2511: 2223: 1900: 1866:

1987, Marina Tarlinskaja used a quantitative analysis of the occurrence of

1833: 1663: 1659: 1655: 1643: 1576: 1556: 1338: 1234: 1224:, suggesting the order is random and cannot be used to help date the play. 943: 850: 781: 648: 424: 209: 70: 7750:

Did Shakespeare Write Titus Andronicus?: A Study in Elizabethan Literature

7313:: The Use of Emblematic Method and Iconology in the Thematic Structure of 7207:. (Shakespeare Yearbook), (Lewiston: The Edwin Mellen Press, 1996), 327–54 6515:"Tang Shu-wing's Titus Andronicus 2.0 and a Poetic Minimalism of Violence" 5794:, directed by Lucy Bailey, The Globe, London, 31 May & 11 July 2006", 3707:, written by Michael Johnson and Mary Davenport was performed at the 2007 3204: 2691:

of an obese emperor reclining on a couch and clutching a bunch of grapes.

1845:

The first major critic to challenge Robertson, Parrott and Timberlake was

1598:

is by no means the most brutal of Shakespeare's plays. More people die in

8942: 8754: 8510: 8258: 7087: 7062: 5766: 4013: 3908: 3879: 3842: 3604: 3565: 3479: 3367: 3031: 2871: 2807: 2711: 2662: 2634: 2601: 2446: 2291: 1678: 1632: 1537: 1048: 923: 705: 428: 320: 317:

order to save the baby, Aaron reveals the entire revenge plot to Lucius.

313: 42: 19:

This article is about the play by William Shakespeare. For the band, see

8104: 8088: 4634:

Shakespeare in Print: A History and Chronology of Shakespeare Publishing

4118:(1623), it is spelt Aaron. All modern editors adopt the latter spelling. 4028:

as Aaron and Frances Jeater as Lavinia. In 1986, Austrian radio channel

2965:

said her slow shuffle onto the stage "chills the blood". Sam Marlowe of

2858: 2392:

is more likely a different play about the two real life Roman Emperors,

1365:

The 1594 quarto text of the play, with the same title, was reprinted by

471:." Others are less certain of a specific setting, however. For example, 9441: 9027: 8314: 7970:

The Matter of Difference: Materialist Feminist Criticism of Shakespeare

7829:

Starks, Lisa S. "Cinema of Cruelty: Powers of Horror in Julie Taymor's

5112: 4114:(1594), Aaron is spelt Aron, but in all subsequent quartos, and in the 3962: 3927:; in the background, his father is being inaugurated as the new emperor 3829: 3658: 3238: 3086: 2925: 2883: 2625: 2415: 2048: 1895:

which restates the case for Peele as the author of Act 1, 2.1 and 4.1.

1569: 1461:

An important piece of evidence relating to both the dating and text of

1378: 1289: 1129: 1109: 952: 826: 795:

The name of Lavinia was probably taken from the mythological figure of

725: 721: 411: 377: 84: 8116: 7910:

Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays

7188:

Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays

7135:

Brockbank, Philip. "Shakespeare: His Histories, English and Roman" in

6981:(The Pelican Shakespeare; London: Penguin, 1966; revised edition 1977) 4683:

Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays

2283: 1064:'s diary on 24 January 1594, where Henslowe recorded a performance by 891:

is complicated by the existence of two other versions of the story; a

397:

is fictional, not historical, unlike Shakespeare's other Roman plays,

9486: 8959: 8811: 8747: 8335: 8194: 7944:

Willis, Deborah. ""The gnawing vulture": Revenge, Trauma Theory, and

7475:

Kendall, Gillian Murray. ""Lend me thy hand": Metaphor and Mayhem in

5927: 5885: 4497: 3647: 3636: 3617: 3613: 3475: 3388: 3101:'s 1989 production in Italy which evoked images of twentieth century 2967: 2959:

called Lavinia "almost too ghastly to behold". Michael Billington of

2929: 2892: 2851: 2687: 2658:

rather than gory realism was what made this production so stunning."

2613: 2596:

Later in 1967, as a direct reaction to Seale's realistic production,

2542: 2520:

but had controversially turned it down, and instead decided to stage

2393: 2303: 2231: 2226:

on the crime, establishing its significance to the play by making an

2015: 1979: 1120: 931: 872: 846: 745: 741: 693: 580: 576: 522: 447:. We know it is a later Rome because the emperor is routinely called 274: 198: 7998: 7249:

Fawcett, Mary Laughlin. "Arms/Words/Tears: Language and the Body in

7101:(Folger Shakespeare Library; Washington: Simon & Schuster, 2005) 6767:

Courtney Lehmann, "Film Adaptations: What is a Film Adaptation? or,

6342:

World Wide Shakespeare: Local Appropriations in Film and Performance

5104: 4962:

Shakespeare's Verse: Iambic Pentameter and the Poet's Idiosyncrasies

3525:

as Tamora, Hubert Baron Kelly as Aaron and Lucy Peacock as Lavinia.

9491: 9296: 8043: 7811:

Sommers, Alan. ""Wilderness of Tigers": Structure and Symbolism in

7503: 6855:(North Carolina: University of North Carolina Press, 1991), 292–314 5559:

An overview of this production can be found in Hughes (2006: 51–53)

5550:

All information on Doran’s production taken from Hughes (2006: 49).

5524:

An overview of the production can be found in Dessen (1989: 40–44).

5470:

An overview of the production can be found in Dessen (1989: 35–40).

5452:

An overview of the production can be found in Dessen (1989: 24–29).

5422:

An overview of this production can be found in Dessen (1989: 33–35)

3580: 3575:

was translated into English by Julian Hammond and performed at the

2896: 2823:

in August 1995, Robert Lloyd Parry argued "the questions raised by

2586: 2322: 2299: 2239: 2176: 2055: 1964: 1588: 1470: 1243:, which was completed on 27 June 1593. Verbal similarities between 919: 838: 676: 640: 604: 468: 456: 360:

The next day, during the feast at his house, Titus asks Saturninus

336: 230: 7452:: Mutilating Titus, Virgil, and Rome", in James Redmond (editor), 6991:(The New Shakespeare; Cambridge: Cambridge University Press, 1948) 6898:

and Shakespeare", in Leslie Stratyner and James R. Keller (eds.),

6392:

Sylvie Ballestra-Puech, "Violence and Melancholy in Shakespeare's

5951:"Titus Andronicus: Royal Shakespeare theatre, Stratford-upon-Avon" 1720:

felt sure enough of Shakespeare's authorship to include it in the

1702:

name the author, which was normal for Elizabethan plays. However,

1435: 1329: 8716: 8709: 8541: 8349: 8342: 7857:

Taylor, Gary and Doug Douhaime "Who Wrote the Fly Scene (3.2) in

7041:(The New Penguin Shakespeare, 2nd edition; London: Penguin, 2001) 4677:

See for example June Schlueter, "Rereading the Peacham Drawing",

3912: 3858: 3102: 2516: 2330: 2216: 2180: 1991: 1972: 1591:. Speaking of its apparent gratuitous violence, Kott argued that 822: 800: 796: 660: 623: 534: 341: 298: 294: 289: 278: 246: 245:

him. Their conflict seems set to boil over into violence until a

213: 163: 140: 80: 7961:(London: Oxford University Press, 1969; edited by Helen Gardner) 3564:(lack of meaning, insignificance). Written in prose rather than 3370:, both plays were performed by the same company of actors, with 2831:

has proved itself to be political theatre in the truest sense."

2537:

directed an extremely graphic and realistic presentation at the

2206: 8321: 7381:

Hulse, S. Clark. "Wresting the Alphabet: Oratory and Action in

7141:

The New History of Literature (Volume 3): English Drama to 1710

7076:(The Oxford Shakespeare; Oxford: Oxford University Press, 1984) 6833:(New Hampshire: University Press of New England, 1988), 144–150 5537:, 81:2 (February 2000); available on R1 Special Edition DVD of 4830:

Forman, Jonathan (30 December 1999). "Lion Queen Tames Titus".

4107: 3627:

at Shakespeare's Globe, the play was performed under the title

3510: 3181:

Another European adaptation came in 1637, when Dutch dramatist

3114: 3085:'s 1986 production in China, which drew political parallels to 2590: 2253: 2227: 2120: 1960: 1956: 1217: 1081: 1041: 818: 813: 808: 804: 669: 665: 652: 644: 596: 592: 588: 373: 369: 285:

Bassianus and the Andronici family, which he reluctantly does.

282: 8057: 7398:

The Mirror up to Shakespeare Essays in Honour of G. R. Hibbard

6816:(North Carolina: University of North Carolina Press, 1991), 30 3651:

flashbacks to their lives prior to the beginning of the play.

3158:). Transcribed by Frederick Menius, the play was a version of 3066:

as Titus, Katy Stephens as Tamora, Kevin Harvey as Aaron, and

2855:

mention of Mutius is absent; and over 100 lines were removed.

2549:

to make parallels between the contemporary period and that of

913:

The Golden Garland of Princely Pleasures and Delicate Delights

7055:(The Pelican Shakespeare, 2nd edition; London: Penguin, 2000) 6879:

Shakespeare on Television: An Anthology of Essays and Reviews

6831:

Shakespeare on Television: An Anthology of Essays and Reviews

3949: 3682: 3642:

In 2014, Noelle Fair and Lisa LaGrande adapted the play into

3299: 2397: 2156: 733: 655:, was exiled by Pelops for the murder of their half-brother, 502: 419:, presumed to have been at the time). Even the time in which 258: 250: 217: 181: 88: 7822:

Spencer, T. J. B. "Shakespeare and the Elizabethan Romans",

7702:

Papers of the Michigan Academy of Sciences, Arts and Letters

7161:(Durham, North Carolina: Duke University Press, 1985), 29–36 7159:

Renaissance Papers 1984: Southeastern Renaissance Conference

4492:

Jonathan Bate records only two printed plays prior to Q1 of

4029: 1887:

edition of 1994 and again in 2006, and Jonathan Bate in his

362:

if a father should kill his daughter when she has been raped

8011:

The History of Titus Andronicus, The Renowned Roman General

7894:

Ungerer, Gustav. "An Unrecorded Elizabethan Performance of

7605:

Shakespeare's Earliest Tragedy: Studies in Titus Andronicus

6734:

Shakespeare's Violated Bodies: Stage and Screen Performance

3933: 3861:

screened an adaptation of the play written and directed by

3686: 2924:, it starred Kotaro Yoshida as Titus, Rei Asami as Tamora, 2160: 1389:

was discovered in Sweden. Together with a 1594 printing of

1147:

hand. For example, in his 1953 edition of the play for the

928:

The History of Titus Andronicus, the Renowned Roman General

882: 717: 619: 600: 584: 464: 444: 4647:

Infinite Variety: Exploring the Folger Shakespeare Library

3062:

directed the play for the Royal Shakespeare Company, with

2325:

augment the violent imagery, not diminish it, because the

7774: 7255: 7146:

Brucher, Richard. ""Tragedy Laugh On": Comic Violence in

6972:

Titus Andronicus and Timon of Athens: Two Classical Plays

6745:

Jonathan Bate, "A Shakespeare tale whose time has come",

4016:

aired an adaptation directed by Martin Jenkins, starring

3993: 1955:. Perhaps the most obvious recurring motifs are those of 459:, and Brutus, suggesting that they learned about Brutus' 7728:

Scene 6 (= 4.1)", in Gary Taylor and Gabriel Egan (eds)

7346:

Hiles, Jane. "A Margin for Error: Rhetorical Context in

7199:

Christensen, Ann. ""Playing the Cook": Nurturing Men in

7048:(The Arden Shakespeare, 2nd Series; London: Arden, 1953) 6964:(The Arden Shakespeare, 3rd Series; London: Arden, 1995) 6944:(The Arden Shakespeare, 1st Series; London: Arden, 1912) 3399:

adapted the play into a German language comedy entitled

3220:

The earliest English language adaptation was in 1678 at

3193:, which may itself have been a composite of the English 2514:

as Lavinia. Brook had been offered the chance to direct

1706:

does list the play as one of Shakespeare's tragedies in

1087:

The Most Lamentable Romaine Tragedie of Titus Andronicus

544: 7094:(Oxford: Oxford University Press, 1986; 2nd edn., 2005) 7015:

The Norton Shakespeare: Based on the Oxford Shakespeare

6278:

Waith (1984: 87); Dessen (1989: 11); Barnet (2005: 154)

3468:

Anatomy Titus: Fall of Rome. A Shakespearean Commentary

168:

Tamora – Queen of the Goths; afterwards Empress of Rome

7456:(Cambridge: Cambridge University Press, 1991), 123–140 6935:

Shakespeare's Titus Andronicus: The First Quarto, 1594

6902:(North Carolina: McFarland & Company, 2009), 50–52 6475:(Cambridge: Cambridge University Press, 2013), 115–120 3779:

In 1999, Julie Taymor directed an adaptation entitled

2095:

Whose circling shadows, Kings have sought to sleep in,

156:

Bassianus – Saturninus's brother; in love with Lavinia

7438: . "Shakespeare's Brothers and Peele's Brethren 6881:(Hanover: University Press of New England, 1988), 146 3545:

Viol, d'après Titus Andronicus de William Shakespeare

2581:

and the Goths at the end of the play were dressed in

1493:, and is therefore of limited use to Shakespeareans. 1428:

As such, the text of the play that is today known as

335:

Back in Rome, Titus's behaviour suggests he might be

7868:

Tricomi, Albert H. "The Aesthetics of Mutilation in

7837:(London: Associated University Press, 2002), 121–142 7833:", in Lisa S. Starks and Courtney Lehmann (editors) 7607:(Madison: Farleigh Dickinson University Press, 1996) 6736:(Cambridge: Cambridge University Press, 2004), 24–31 5911: 4952:(Salzburg: Salzburg University Press, 1979), 147–153 4246:

Astraea: The Imperial Theme in the Sixteenth Century

3772:

adaptation, which cuts back on the violence, titled

3535:

Schändung: nach dem Titus Andronicus von Shakespeare

3170:

group of travelling players. The overriding plot of

2903:

awning which was intended to darken the auditorium.

2698:

in Ontario, Canada in 1978, when it was directed by

1522:. Speaking of the original play, Ravenscroft wrote, 915:(1620), but the date of its composition is unknown. 451:; because the characters are constantly alluding to 277:, but Titus refuses to listen, accusing them all of 7915:Waith, Eugene M. "The Metamorphosis of Violence in 7835:

The Reel Shakespeare: Alternative Cinema and Theory

7580: . "A Stylometric Comparison of Shakespeare's 7510:(Garden City, New York: Doubleday Publishing, 1964) 7400:(Toronto: Toronto University Press, 1983a), 171–188 7219:

A Time Analysis of the Plots of Shakespeare’s Plays

4807:. Charlie Rose.com. 19 January 2000. Archived from 2434:which had, at some stage previously, been acted at 2111:

And, lest thou shouldst detect him, cut thy tongue.

8081:, by Michael S. Kochin and Katherine Philippakis; 7658:Further Studies in English Language and Literature 7421:"Stage Directions and Speech Headings in Act 1 of 6126: 5916: 5846: 5813: 5754: 5664: 5573: 5070:(Cambridge: Cambridge University Press, 1949), 105 4734:T. S. Eliot, "Seneca in Elizabethan Translation", 4681:, 50:2 (Summer, 1999), 171–184 and Brian Vickers, 4066: 4064: 3685:, and included such moments as Lavinia singing an 2191:What will whole months of tears thy father's eyes? 7972:(Ithaca: Cornell University Press, 1991), 129–151 7759:(London: Longmans, 1961; edited by Graham Storey) 7757:Angel with Horns: Fifteen Lectures on Shakespeare 7444:Notes and Queries", 44:4 (November 1997), 494–495 4950:Studies in Attribution: Middleton and Shakespeare 4738:(New York: Harcourt, Brace & World, 1950), 67 4685:(Oxford: Oxford University Press, 2002), 149–150. 4248:(London: Routledge & Kegan Paul, 1975), 70–79 4049:, unless otherwise specified, are taken from the 2694:The play was performed for the first time at the 2167:He would not then have touched them for his life. 2165:And make the silken strings delight to kiss them, 2083:If I do dream, would all my wealth would wake me! 2067:, "to lend one's hand is to risk dismemberment." 1473:. The drawing appears to depict a performance of 629:Titus's revenge may also have been influenced by 549:Tereus Confronted with the Head of his Son Itylus 184:; involved in a romantic relationship with Tamora 159:Sempronius, Caius and Valentine – Titus's kinsmen 9543: 7203:", in Holger Klein and Rowland Wymer (editors), 7003:(Boston: Houghton Mifflin, 1974; 2nd edn., 1997) 4069:The Privileged Playgoers of Shakespeare's London 3739:as Lavinia, but the project never materialised. 2173:He would have dropped his knife and fell asleep, 1372:The Most Lamentable Tragedie of Titus Andronicus 509:, who based his work on that of writers such as 487:the political institutions that Rome ever had." 366:baked in the pies Tamora has already been eating 133:Young Lucius – Lucius's son and Titus's grandson 7863:The New Oxford Shakespeare Authorship Companion 7735:Reese, Jack E. "The Formalization of Horror in 7732:(Oxford: Oxford University Press, 2017): 92-106 7730:The New Oxford Shakespeare Authorship Companion 7276:(Manchester: Manchester University Press, 2024) 7232:(Manchester: Manchester University Press, 1989) 7025:The Most Lamentable Tragedy of Titus Andronicus 6921: 6911:All information in this section comes from the 6853:The BBC Shakespeare: Making the Televised Canon 6814:The BBC Shakespeare: Making the Televised Canon 6473:Shakespeare Beyond English: A Global Experiment 5849:"Titus Andronicus: Shakespeare's Globe, London" 5571: 4601:(Oxford: Oxford University Press, 1987), 69–144 4578:(Oxford: Oxford University Press, 1987), 69–144 3042:directed a modern military dress production at 2891:, who took as his inspiration a feature of the 2767:In 1994, Julie Taymor directed the play at the 2189:One hour's storm will drown the fragrant meads; 380:, and Aaron is taken away to be punished thus. 7865:(Oxford: Oxford University Press, 2017): 67-91 7486:Kochin, Michael S. and Katherine Philippakis. 7469:Roman Shakespeare: Warriors, Wounds, and Women 6974:(The RSC Shakespeare; London: Macmillan, 2008) 5662: 5027: 4786: 4784: 3756:featured a very loose adaptation of the play. 3280:African–American actor Ira Aldridge as Aaron, 2485:as part of a double bill with Robert Greene's 2412:, in which Lucius had been renamed Vespasian. 2356:The earliest definite recorded performance of 2193:Do not draw back, for we will mourn with thee; 2145:But, lovely niece, that mean is cut from thee. 2103:Like to a bubbling fountain stirred with wind, 2089:Speak, gentle niece, what stern ungentle hands 2079:Who is this? My niece that flies away so fast? 843:History of the Empire from the Death of Marcus 9282: 8132: 7296:Staged Transgression in Shakespeare's England 7119:(New York: New York Publishing Company, 1998) 6894:'Yon Fart Doth Smell of Elderberries Sweet': 6877:", in J. C. Bulman and H. R. Coursen (eds.), 6829:", in J. C. Bulman and H. R. Coursen (eds.), 6610: 6309:, 26 April 1857; quoted in Barnet (2005: 155) 6191:Foreign Shakespeare: Contemporary Performance 6087: 5635: 5616:British Universities Film & Video Council 5575:"Death, mutilation – and not a drop of blood" 4512:, with both plays advertised as performed by 3502:, and is still regularly revived in Germany. 3458: 3337:staged a thirty-five-minute version entitled 2129:O, that I knew thy heart, and knew the beast, 2113:Ah, now thou turn'st away thy face for shame; 2091:Hath lopped, and hewed and made thy body bare 1839:Dramatic tales founded on Shakespeare's plays 293:cut off her hands. Meanwhile, Aaron writes a 7448:James, Heather. "Cultural Disintegration in 7284:Royal Shakespeare Theatre Company, 1960–1963 7230:Shakespeare in Performance: Titus Andronicus 7097:Werstine, Paul and Mowat, Barbara A. (eds.) 6873:Mary Maher, "Production Design in the BBC's 5981: 5795: 5697: 4496:which mention more than one acting company; 4093: 4091: 3559: 3543: 3533: 3455: 3400: 3208:Miss P. Hopkins as Lavinia in Ravenscroft's 3149: 3143: 2992: 2946: 2593:, arguing that it created a mixed metaphor. 2314: 2137:Fair Philomela, why she but lost her tongue, 2127:Shall I speak for thee? Shall I say 'tis so? 2117:As from a conduit with three issuing spouts, 2024:Lose not so noble a friend on vain suppose. 2020:Whose fury not dissembled speaks his griefs. 9079: 7319:Research Opportunities in Renaissance Drama 7168:(New York: Columbia University Press, 1966) 6913:British Universities Film and Video Council 6124: 5874: 5700:"Shakespeare in War, More Timely Than Ever" 5541:; 20th Century Fox Home Entertainment, 2000 5411:Shakespeare on the English Stage, 1900–1964 5032:. Manchester: Manchester University Press. 4794:; 20th Century Fox Home Entertainment, 2000 4781: 4725:(London: George Bell & Sons, 1879), 442 4649:(University of Washington Press, 2002), 155 4529:See Waith (1984: 8) and Massai (2001: xxiv) 3549: 3542:), also commonly known by its French name, 3540:Rape: After Titus Andronicus by Shakespeare 2187:For such a sight will blind a father's eye. 2185:Come, let us go, and make thy father blind, 2151:That could have better sowed then Philomel. 2135:Doth burn the heart to cinders where it is. 2115:And notwithstanding all this loss of blood, 2099:As half thy love? Why dost not speak to me? 2093:Of her two branches, those sweet ornaments, 1568:", and its only suitable director would be 1377:Q1 is considered a 'good text' (i.e. not a 902:The first definite reference to the ballad 899:(both of which are anonymous and undated). 9289: 9275: 8139: 8125: 7685:Parrott, T. M. "Shakespeare's Revision of 7092:The Oxford Shakespeare: The Complete Works 7069:(Oxford: Oxford University Press, 2016-17) 6942:The Lamentable Tragedy of Titus Andronicus 6611:O'Donnell, Sean Michael (21 August 2007). 6287:Dessen (1989: 11–12) and Hughes (2006: 29) 5948: 5533:Stephen Pizzello, "From Stage to Screen", 4472:Shakespeare's Impact on his Contemporaries 4270:(San Marino: Huntington Library, 1967), 87 3407:Titus Andronicus: Comedy After Shakespeare 3402:Titus Andronicus: Komödie nach Shakespeare 3076:Historic Jersey City and Harsimus Cemetery 3030:as Tamora, Colleen Delany as Lavinia, and 2109:But sure some Tereus hath deflowered thee, 2105:Doth rise and fall between thy ros'd lips, 1857:also argued that Shakespeare wrote alone. 1407:The Lamentable Tragedy of Titus Andronicus 261:. Despite Tamora's desperate pleas, Titus 177:Alarbus – Tamora's son (non-speaking role) 101:disapproved of it, largely because of its 52:The Lamentable Tragedy of Titus Andronicus 38:The Lamentable Tragedy of Titus Andronicus 8049:"Lucius, the Severely Flawed Redeemer of 7842:"Lucius, the Severely Flawed Redeemer of 7718:Journal of English and Germanic Philology 6059: 5997:Paul Taylor, "Review of Yukio Ninagawa's 5725: 5567: 5565: 5147:(New York: Barnes & Noble, 1968), 306 4088: 4073:. Princeton: Princeton University Press. 2878:as Titus, Geraldine Alexander as Tamora, 2149:And he hath cut those pretty fingers off, 2147:A craftier Tereus, cousin, hast thou met, 2131:That I might rail at him to ease my mind! 2085:If I do wake, some Planet strike me down, 1496: 7939:William Shakespeare: a Textual Companion 7524:Law, Robert A. "The Roman Background of 7143:(New York: Peter Bedrick, 1971), 148–181 7065:; Terri Bourus, and Gabriel Egan (eds.) 6723:(Göttingen: Hubert & Co., 2010), 115 6721:Questioning Bodies in Shakespeare's Rome 6650:. The DoG Street Journal. Archived from 6641: 5752: 4610:See Winifred Frazer, "Henslowe's "ne"", 4599:William Shakespeare: A Textual Companion 4576:William Shakespeare: A Textual Companion 4547:See Bate (1995: 75) and Hughes (2006: 3) 3918: 3837:as Tathagat Ahuja (representing Titus), 3731:planned to make a feature film starring 3275: 3203: 2905: 2857: 2430:as one of twenty-one plays owned by the 2414: 2282: 2205: 2153:O, had the monster seen those lily hands 2125:Blushing to be encountered with a cloud. 2037: 1927: 1832: 1642: 1627:In his 1987 edition of the play for the 1434: 1328: 1183: 1047: 1035: 922:form some time between 1736 and 1764 by 883:Ballad, prose history, and source debate 543: 319: 229: 139:Marcus Andronicus – Titus's brother and 31: 8146: 7912:(Oxford: Oxford University Press, 2002) 7635:and the Mythos of Shakespeare’s Rome", 7488:"Rape and Civilization in Shakespeare." 7463:(Oxford: Oxford University Press, 1977) 7392:Hunter, G. K. "Sources and Meanings in 7239:(Oxford, Oxford University Press, 1995) 7117:Shakespeare: The Invention of the Human 6803:(Rouen: Université de Rouen, 2008), 338 6706:(Rouen: University of Rouen, 2008), 340 6484: 6417: 5811: 5756:"Titus Andronicus, Stratford-upon-Avon" 5088: 4723:Lectures on Dramatic Art and Literature 2477:staged the play under the direction of 2396:, who ruled from 69 to 79, and his son 2195:O, could our mourning ease thy misery! 2133:Sorrow conceal'd, like an oven stopped, 2107:Coming and going with thy honey breath. 2097:And might not gain so great a happiness 2022:Then at my suit look graciously on him; 1552:Shakespeare: The Invention of the Human 1255:Henry Percy, 9th Earl of Northumberland 997:). In his 1984 edition of the play for 9544: 8079:"Rape and Civilization in Shakespeare" 7337:: The Form of Shakespearean Tragedy", 6801:Shakespeare on Screen: The Roman Plays 6775:(Westport: Greenwood Press, 2006), 130 6704:Shakespeare on Screen: The Roman Plays 6088:Dziemianowicz, Joe (1 December 2011). 5562: 4829: 4636:(Cambridge University Press, 2003), 23 3890:as Tamora, Hugh Quarshie as Aaron and 3841:as Tulsi Joshi (representing Tamora), 3806:William Shakespeare's Titus Andronicus 3709:New York International Fringe Festival 3607:and with an all-male cast, it starred 3329:The next adaptation was in 1951, when 2268:in 1987, which used an unedited text, 2081:Cousin, a word: where is your husband? 1450: 871:. Bassianus's name probably came from 861:) are "false, envious and malicious." 776:speculates that he may be named after 575:, Ovid tells the story of the rape of 463:from the same literary sources we do, 383: 9270: 8891:Complete Works of William Shakespeare 8120: 7660:(Jerusalem: Magnes Press, 1975), 1–18 6444: 6039:(2007 – Shakespeare Theatre Company)" 5769:from the original on 10 December 2022 5297:Bate (1995: 70) and Hughes (2006: 13) 4319:(London: Bibliographic Society, 1939) 3261:was performed for four nights at the 3185:wrote a version of the play entitled 2169:Or, had he heard the heavenly harmony 1333:Title page of the third quarto (1611) 1163:was actually his first play, written 521:, who borrowed from, amongst others, 7105: 6937:(New York: C. Scribner's Sons, 1936) 6512: 6418:Croggon, Alison (29 November 2008). 5949:Billington, Michael (22 June 2006). 5828:from the original on 12 January 2022 5679:from the original on 12 January 2022 5588:from the original on 12 January 2022 2101:Alas, a crimson river of warm blood, 2087:That I may slumber in eternal sleep! 2010:I should be author to dishonour you. 1948:than has hitherto been allowed for. 1883:edition of 1985, Alan Hughes in his 1614:death. In reading, the cruelties of 1341:and R.T. Rickert, modern editors of 1142:alongside it, Jonson is saying that 326:The Works of Mr. William Shakespeare 9251: 7804:. "Rereading the Peacham Drawing", 7649:(London: Routledge, 1977; rpt 2005) 7013:and Maus, Katharine Eisaman (eds.) 6344:(New York: Routledge, 2005), 88–94. 5753:Macaulay, Alastair (22 June 2006). 2751:directed a realistic production at 2058:related to violence: "the world of 2012:But on mine honour dare I undertake 1501: 1405:text of 1623 (F1), under the title 849:theory which he could have seen in 23:. For the 17th century ballad, see 13: 9066:Shakespeare's influence on Tolkien 7790:Sargent, Ralph M. "The Sources of 7696:Price, Hereward. "The Language of 7647:The Sources of Shakespeare's Plays 7425:Q (1594): Shakespeare or Peele?", 7328:A Shakespeare Companion, 1564–1964 7214:(London: St. Martin's Press, 1993) 6672: 6619:. New York Theatre. Archived from 5847:Michael Billington (1 June 2006). 4964:(New York: P. Lang, 1987), 121–124 4805:"A conversation with Julie Taymor" 3966:based an episode on the play. In " 3655:Gary: A Sequel to Titus Andronicus 3117:which acted as a metaphor for the 2378:Sir John Harington, Baron of Exton 2171:Which that sweet tongue hath made, 1791:Reliques of Ancient English Poetry 121:Lucius – Titus's eldest living son 14: 9623: 8014:– text of the prose history from 7977: 7883: . "The Mutilated Garden in 7498:Titus Andronicus: Critical Essays 7212:Shakespeare's Culture of Violence 6588:. Bunport Theatre. Archived from 6537:"Interpreting Her Martyr'd Signs" 6145:from the original on 21 June 2022 6094:has more than gore at the Public" 6060:Wingfield, Kate (12 April 2007). 4931:Dover Wilson (1948: xxxvi–xxxvii) 4895:(Wisconsin: Banta, 1931), 114–119 4790:Julie Taymor, DVD commentary for 4382:Hunter (1983a) and Hunter (1983b) 3271:History of the Philadelphia Stage 2230:of the mutilated woman". Actress 2070:No discussion of the language of 1853:Peele as co-author, and in 1943, 1776:, and in the nineteenth century, 918:The prose was first published in 887:Any discussion of the sources of 9597:British plays adapted into films 9409: 9346: 9250: 9241: 9240: 8594: 8032: 7357:Hill, R. F. "The Composition of 7132:, 42:3 (September 1995), 300–307 6905: 6884: 6867: 6858: 6845: 6836: 6819: 6806: 6793: 6778: 6761: 6752: 6739: 6726: 6709: 6696: 6666: 6642:Cleverly, Casey (6 April 2007). 6635: 6604: 6586:"Bunport Theater Review Archive" 6578: 6569: 6551: 6529: 6513:Choy, Howard (23 January 2013). 6506: 6478: 6465: 6445:Allan, Alice (13 October 2008). 6438: 6411: 6386: 6373: 6356: 6347: 6330: 6321: 6312: 6299: 6290: 6281: 6272: 6263: 6254: 6245: 6236: 6227: 6218: 6209: 6196: 6183: 6157: 6118: 6081: 6053: 6027: 6010: 5991: 5970: 5942: 5905: 5868: 5840: 5812:Spencer, Charles (1 June 2006). 5805: 5784: 5746: 5719: 5691: 5656: 5629: 5600: 5572:Benjamin Secher (10 June 2006). 5553: 5544: 5527: 5518: 5509: 5500: 5491: 5482: 5473: 5464: 5455: 5446: 5434: 5425: 5416: 5403: 5394: 5385: 5376: 5367: 5354: 5345: 5336: 5327: 5318: 5309: 5300: 5291: 5282: 5273: 5264: 5255: 5246: 5237: 5225: 5216: 3216:'s edition of Shakespeare (1776) 3145:Englische Comedien und Tragedien 3119:struggles of the Croatian people 1374:, printed by Edward Allde (Q3). 1099:James Orchard Halliwell-Phillips 1026: 87:, presents Tamora, Queen of the 9311: 8029:– text of the ballad from 1620. 7959:Shakespearean and Other Studies 7941:(Oxford: Clarendon Press, 1987) 7621:, 216:2 (Summer, 1971), 131–134 7552:The History of Titus Andronicus 7415:, 30:2 (Summer, 1983b), 114–116 7090:and Montgomery, William (eds.) 6952:The Tragedy of Titus Andronicus 6485:Dickson, Andrew (10 May 2012). 6041:. Shakespeare Internet Editions 5663:Rebecca Tyrrel (18 June 2006). 5207: 5198: 5189: 5180: 5150: 5137: 5128: 5119: 5082: 5073: 5060: 5028:Freebury-Jones, Darren (2024). 5021: 5012: 5003: 4994: 4985: 4976: 4967: 4955: 4943: 4934: 4925: 4916: 4907: 4898: 4885: 4876: 4867: 4858: 4849: 4840: 4823: 4797: 4768: 4759: 4750: 4741: 4728: 4715: 4706: 4697: 4688: 4671: 4662: 4652: 4639: 4626: 4617: 4604: 4590: 4581: 4568: 4559: 4550: 4541: 4532: 4523: 4486: 4477: 4464: 4455: 4430: 4421: 4412: 4403: 4394: 4385: 4376: 4367: 4358: 4349: 4340: 4331: 4322: 4309: 4300: 4291: 4282: 4273: 4260: 4251: 4238: 4229: 4220: 4211: 4202: 4193: 4184: 4175: 3644:Interpreting her Martyr'd Signs 3484:emigration and defection issues 3349:. Produced in the tradition of 2604:'s Shakespeare Festival at the 2567:Hiroshima and Nagasaki bombings 2054:A further significant motif is 1918:Shakespeare's Borrowed Feathers 825:, a violent and uncompromising 9071:Works titled after Shakespeare 8061:, 6:2 (Summer, 1997), 138–157. 7968:", in Valerie Wayne (editor), 7808:, 50:2 (Summer, 1999), 171–184 7787:, 51:4 (Winter, 1936), 689–701 7778:, 49:3 (Autumn, 1982), 576–601 7682:, 14:4 (Winter, 1972), 320–339 7628:, 53:4 (Winter, 2002), 487–511 7573:, 28:2 (Summer, 1977), 154–169 7558:, 22:4 (Winter, 1975), 163–166 7545:7th World Shakespeare Congress 7483:, 40:3 (Autumn, 1989), 299–316 7389:, 21:2 (Spring, 1979), 106–118 7372:: Metamorphosis and Renewal," 7343:, 14:2 (Summer, 1963), 203–207 7259:, 50:2 (Summer, 1983), 261–277 7122:Boyd, Brian. "Common Words in 6559:"A Sequel to Titus Andronicus" 6260:Halliday (1964: 399, 403, 497) 5976:Neil Allan and Scott Revers, " 5364:(London: Winchester, 1949), 51 4587:Foakes and Rickert (1961, xxx) 4438:"Titus Andronicus, 1600, f.1r" 4166: 4157: 4148: 4139: 4130: 4121: 4100: 4058: 3671:Titus Andronicus: The Musical! 3132: 3014:directed a production for the 2727:in 1988 for the RSC, starring 2696:Stratford Shakespeare Festival 2681:as Lavinia. Colin Blakely and 2351: 2119:Yet do thy cheeks look red as 651:, who, along with his brother 583:, King of Athens. Despite ill 483:, but rather that it includes 1: 9231:Shakespeare and other authors 8071:Early Modern Literary Studies 8015: 7854:, 6:2 (Summer, 1997), 138–157 7656:", in A.A. Mendilow (editor) 7517:: The Fly-Killing Incident", 7286:(London: Max Reinhardt, 1964) 6940:Baildon, Henry Bellyse (ed.) 6340:", in Sonia Massai (editor), 6022:Early Modern Literary Studies 5145:Shakespeare's Early Tragedies 5125:Dover Wilson (1948: liii–liv) 5052:: CS1 maint: date and year ( 4035: 3960:In 2001, the animated sitcom 3852: 3849:as Loveleen Ahuja (Lavinia). 3657:, an absurdist comic play by 3616:, and his baby 'played' by a 3281: 2794:directed a production at the 1796:Globe Illustrated Shakespeare 1788:wrote in the introduction to 1684: 1440: 1175: 1164: 1153: 1056:The earliest known record of 904:"Titus Andronicus' Complaint" 879:and the other to popularity. 855:The Kalendayr of the shyppars 686: 565: 153:; afterwards declared Emperor 149:Saturninus – Son of the late 108: 9356: 9113:Shakespeare Birthplace Trust 7952:, 53:1 (Spring, 2002), 21–52 7798:, 46:2 (April 1949), 167–183 7743:, 21:1 (Spring, 1970), 77–84 7652:Nevo, Ruth. "Tragic Form in 7532:, 40:2 (April 1943), 145–153 7508:Shakespeare Our Contemporary 7354:, 21:2 (Summer, 1987), 62–75 7183:, 51:3 (Fall, 2004), 267–269 6842:Quoted in Barnet (2005: 159) 5918:"Review of Yukio Ninagawa's 5802:, 70:2 (Autumn, 2006), 49–51 5698:Ben Brantley (8 July 2006). 4040: 3857:In 1970, Finnish TV channel 3593:Malthouse Theatre, Melbourne 2577:officer; the Andronici wore 2488:Friar Bacon and Friar Bungay 2420:Philip James de Loutherbourg 1292:, particularly the study of 1103:Edinburgh University Library 7: 9476:Titus Andronicus' Complaint 8919:English Renaissance theatre 8762:The Second Maiden's Tragedy 8741:The Merry Devil of Edmonton 8273:The Two Gentlemen of Verona 8069:, by Brecken Rose Hancock; 8042:public domain audiobook at 8026:Titus Andronicus' Complaint 7934:, 79:1 (Spring 1982), 62–77 7721:, 42:1 (Spring 1943), 55–81 7711: . "The Authorship of 7472:(New York: Routledge, 1997) 6970:and Rasmussen, Eric (eds.) 6864:Quoted in Dessen (1989: 44) 6539:. For Love and Duty Players 6487:"Titus Andronicus – review" 6449:Anatomy Titus: Fall of Rome 6422:Anatomy Titus: Fall of Rome 6366:at the Deutsches Theater", 6364:Anatomie Titus Fall of Rome 6224:Dover Wilson (1948: lxviii) 5875:Sam Marlowe (1 June 2006). 5431:Quoted in Dessen (1989: 24) 4065:Cook, Ann Jennalie (1981). 3774:Titus Andronicus: The Movie 3665: 3528:In 2005, German playwright 3450:In 1984, German playwright 3427:The Two Gentlemen of Verona 3016:Shakespeare Theatre Company 2798:, which also played at the 2600:directed a performance for 1923: 1911:published in the edition's 225: 10: 9628: 9087:Folger Shakespeare Library 8633:The Phoenix and the Turtle 8223:The Merry Wives of Windsor 8099:BBC Television Shakespeare 8053:", by Anthony Brian Taylor 7565: . "Stage History of 7461:The Origins of Shakespeare 7396:", in J. C. Gray (editor) 7330:(Baltimore: Penguin, 1964) 7246:(London: Hutchinson, 1951) 7126:: The Presence of Peele", 7067:The New Oxford Shakespeare 6771:", in Richard Burt (ed.), 6383:, 58:2 (May 2006), 313–314 6125:Alice Jones (9 May 2013). 4855:Quoted in Waith (1984: 12) 4297:Quoted in Waith (1984: 83) 4279:Quoted in Waith (1984: 87) 3925:BBC Television Shakespeare 3875:BBC Television Shakespeare 3868:In 1985, the BBC produced 3845:as Arun Kumar (Aaron) and 3601:Queensland Theatre Company 3509:directed a heavily edited 3463:. Ein Shakespearekommentar 3072:Hudson Shakespeare Company 3020:Harman Center for the Arts 2569:. Saturninus was based on 2347:Themes in Titus Andronicus 2344: 1688: 1658:, who staged a production 1518:'s theatrical adaptation, 1454: 1387:Folger Shakespeare Library 1118:that "He that will swear, 873:Lucius Septimius Bassianus 835:The Arte of English Poesie 614:; the tale of the rape of 490: 388: 136:Lavinia – Titus's daughter 18: 9602:Plays set in ancient Rome 9577:English Renaissance plays 9572:Fiction about cannibalism 9452: 9408: 9355: 9344: 9310: 9225: 9136: 9106:Royal Shakespeare Theatre 9101:Royal Shakespeare Company 9008: 8865: 8836: 8665: 8656: 8603: 8592: 8524: 8496: 8387: 8297: 8230:A Midsummer Night's Dream 8174:All's Well That Ends Well 8163: 8154: 7596:, 29:1 (Spring, 1979), 42 7554:and Shakespeare's Play", 7500:(New York: Garland, 1995) 7265:and Rickert R. T. (eds.) 7051:MacDonald, Russell (ed.) 7000:The Riverside Shakespeare 6646:Tragedy! A Musical Comedy 6615:Tragedy! A Musical Comedy 6517:. MIT Global Shakespeares 6165:"Fear Blood Soaked Titus" 6024:, Special Issue 21 (2013) 5666:"Tongueless in Stratford" 5213:Massai (2001: xxxi–xxxvi) 5162:Royal Shakespeare Company 5018:Taylor and Duhaime (2017) 4736:Selected Essays 1917–1932 4712:Quoted in Bate (1995: 33) 4703:Quoted in Bate (1995: 79) 4474:(London: Macmillan, 1982) 4337:Dover Wilson (1948: viii) 3981:Unbreakable Kimmy Schmidt 3905:Royal College of Surgeons 3705:Tragedy! A Musical Comedy 3550: 3459: 3395:In 1970, Swiss dramatist 3224:, by Edward Ravenscroft: 3051:(who was nominated for a 2806:, South Africa, starring 2496:Royal Shakespeare Theatre 2340: 1240:The Unfortunate Traveller 1016:New Cambridge Shakespeare 734:Titus Flavius Vespasianus 659:. They take up refuge in 539:Giovanni Battista Giraldi 25:Titus Andronicus (ballad) 8244:Pericles, Prince of Tyre 7407: . "The Sources of 7272:Freebury-Jones, Darren. 7196:, 99:4 (2004), 1030–1031 5535:American Cinematographer 5333:Dover Wilson (1948: xli) 5315:Halliday (1964: 496–497) 4747:Dover Wilson (1948: xii) 4645:Esther Ferington (ed.), 4623:Dover Wilson (1948: vii) 3987: 3814:Providence, Rhode Island 3675:Buntport Theater Company 3623:In 2012, as part of the 3597:Bell Shakespeare Company 3488:1973 Chilean coup d'état 3148:contained a play called 3137: 2769:Theater for the New City 1855:Hereward Thimbleby Price 1824:John Mackinnon Robertson 1629:Contemporary Shakespeare 1250:The Honour of the Garter 1247:and George Peele's poem 1040:Title page of the first 948:Joseph Quincy Adams, Jr. 738:Andronicus V Palaeologus 541:, and Bandello himself. 253:. Titus arrives to much 171:Demetrius – Tamora's son 118:– renowned Roman general 9582:Shakespearean tragedies 9435:Scott Tenorman Must Die 9401:(late third century AD) 8252:The Taming of the Shrew 8113:(Julie Taymor Version). 8073:, 10:1 (May 2004), 1–25 7840:Taylor, Anthony Brian. 7769:(London: Collins, 1973) 7496:Kolin, Philip C. (ed.) 7428:Studies in Bibliography 7205:Shakespeare and History 7072:Waith, Eugene M. (ed.) 6368:Western European Stages 5780:(subscription required) 5734:. British Theatre Guide 5644:. British Theatre Guide 4991:Vickers (2002: 219–239) 4973:Jackson (1996: 138–145) 3968:Scott Tenorman Must Die 3722: 3701:would have made of it. 3625:Globe to Globe Festival 3587:, the Playhouse in the 3415:Wolf Graf von Baudissin 3305:Zaraffa, the Slave King 2939:The horror! The horror! 2917:Complete Works Festival 1812:August Wilhelm Schlegel 1782:Samuel Taylor Coleridge 1712:in 1598. Additionally, 1662:in 1994 and directed a 1533:August Wilhelm Schlegel 1360: 1095:University of Edinburgh 1031: 772:. As for Lucius' name, 746:Andronicus and the lion 698:Appius Claudius Crassus 696:of the Roman Republic, 599:and has a son for him, 303:sentences them to death 21:Titus Andronicus (band) 9592:Fiction about filicide 9567:Fiction about amputees 8934:Lord Chamberlain's Men 8845:The Passionate Pilgrim 8618:comparison to Petrarch 8237:Much Ado About Nothing 8216:The Merchant of Venice 7691:Modern Language Review 7667:A Shakespeare Glossary 7594:Shakespeare Newsletter 7547:, Valencia, April 2001 7378:, 67:4 (1972), 730–741 7375:Modern Language Review 7193:Modern Language Review 7017:(London: Norton, 1997) 6379:Mechele Leon, Review, 5982: 5796: 5636:Philip Fisher (2006). 5222:Palmer (1972: 321–322) 4846:Vickers (2002: 152n11) 4470:See E.A.J. Honigmann, 3978:The Netflix TV series 3928: 3872:of the play for their 3713:Lucille Lortel Theatre 3691:Oops!...I Did It Again 3560: 3544: 3534: 3532:adapted the play into 3478:, the erection of the 3456: 3454:adapted the play into 3430:for the RSC, starring 3401: 3327: 3287: 3217: 3150: 3144: 3113:'s 1992 production in 2993: 2947: 2911: 2863: 2817:Received Pronunciation 2813:South African politics 2796:Royal National Theatre 2753:Shakespeare Santa Cruz 2423: 2370:Lord Chamberlain's Men 2362:Titus & ondronicus 2315: 2295: 2258: 2211: 2204: 2043: 2033: 1936: 1909:New Oxford Shakespeare 1893:Shakespeare, Co-Author 1842: 1651: 1625: 1497:Analysis and criticism 1447: 1334: 1222:Lord Chamberlain's Men 1189: 1112:wrote in a preface to 1070:Titus & ondronicus 1053: 1045: 1000:The Oxford Shakespeare 977:). On the other hand, 760:Titus & Ondronicus 587:, Philomela's sister, 555: 332: 238: 146:Publius – Marcus's son 47: 9587:Plays by George Peele 9124:Shakespeare Institute 9093:Shakespeare Quarterly 8612:Shakespeare's sonnets 8280:The Two Noble Kinsmen 8085:, September 28, 2023. 7950:Shakespeare Quarterly 7806:Shakespeare Quarterly 7752:(London: Watts, 1905) 7741:Shakespeare Quarterly 7626:Shakespeare Quarterly 7571:Shakespeare Quarterly 7481:Shakespeare Quarterly 7419:Jackson, Macdonald P. 7340:Shakespeare Quarterly 7223:New Shakspere Society 6715:Mariangela Tempera, " 5984:Cahiers Élisabéthains 5798:Cahiers Élisabéthains 5092:Shakespeare Quarterly 5068:Shakespearean Tragedy 4982:Chernaik (2004: 1030) 4882:Parrott (1919: 21–27) 4873:Robertson (1905: 479) 4679:Shakespeare Quarterly 4346:Bullough (1966: 7–20) 4268:The Early Shakespeare 3922: 3729:Robert Hartford-Davis 3494:, it was directed by 3492:Schauspielhaus Bochum 3322: 3279: 3263:Walnut Street Theatre 3246:, which was owned by 3207: 3191:Adriaen Van den Bergh 2994:Cahiers Élisabéthains 2949:Cahiers Élisabéthains 2909: 2861: 2633:, one must shock the 2418: 2286: 2249: 2209: 2076: 2041: 2014:For good Lord Titus' 2004:Not so, my lord; the 2001: 1931: 1885:Cambridge Shakespeare 1836: 1646: 1593: 1587:One such scholar was 1439:The Peacham drawing ( 1438: 1332: 1187: 1172:Cambridge Shakespeare 1051: 1039: 547: 323: 233: 174:Chiron – Tamora's son 143:to the people of Rome 127:Martius – Titus's son 124:Quintus – Titus's son 55:, often shortened to 35: 9562:Plays about adultery 8980:Spelling of his name 8820:Vortigern and Rowena 8798:Thomas Lord Cromwell 8378:Troilus and Cressida 8308:Antony and Cleopatra 8202:Love's Labour's Lost 8188:The Comedy of Errors 7932:Studies in Philology 7902:, 14 (1961), 102–109 7819:, 10 (1960), 275–289 7796:Studies in Philology 7704:, 21 (1935), 501–507 7530:Studies in Philology 7493:, 28 September 2023. 7431:, 49 (1996), 134–148 7368:Huffman, Clifford. " 7321:, 13 (1970), 143–168 7171:Carroll, James D., " 7164:Bullough, Geoffrey. 7037:Massai, Sonia (ed.) 6977:Cross, Gustav (ed.) 6931:Adams, Joseph Quincy 6408:, 31 (December 2010) 5913:Benedict Nightingale 5815:"The horror endures" 4461:Maxwell (1953: xxvi) 3894:as Lavinia. Because 3892:Anna Calder-Marshall 3878:series. Directed by 3515:The Comedy of Errors 3397:Friedrich Dürrenmatt 3363:The Comedy of Errors 3345:presentation at the 3244:Lincoln's Inn Fields 2974:Benedict Nightingale 1913:Authorship Companion 1413:text). However, the 1259:Knight of the Garter 1078:Stationers' Register 786:Lucius Junius Brutus 755:Epistolas familiares 714:Stationers' Register 692:). Around 451 BC, a 461:new founding of Rome 406:Antony and Cleopatra 130:Mutius – Titus's son 9465:Authorship question 9298:William Shakespeare 9204:Richard Shakespeare 9186:Gilbert Shakespeare 9118:Shakespeare's Globe 9023:Authorship question 9018:Attribution studies 8985:Stratford-upon-Avon 8827:A Yorkshire Tragedy 8805:Thomas of Woodstock 8791:The Spanish Tragedy 8732:Love's Labour's Won 8724:The London Prodigal 8681:The Birth of Merlin 8640:The Rape of Lucrece 8626:A Lover's Complaint 8506:Quarto publications 8209:Measure for Measure 8148:William Shakespeare 7889:Shakespeare Studies 7817:Essays in Criticism 7637:Shakespeare Studies 7519:Shakespeare Studies 7513:Kramer, Joseph E. " 7235:Dobson, Michael S. 7186:Chernaik, Warren. " 7044:Maxwell, J.C (ed.) 7030:Hughes, Alan (ed.) 7007:Greenblatt, Stephen 6995:Evans, G. Blakemore 6769:Shakespeare du jour 6732:Pascale Aebischer, 6623:on 24 February 2012 6575:Hughes (2006: 47n2) 6099:New York Daily News 5821:The Daily Telegraph 5672:The Daily Telegraph 5581:The Daily Telegraph 5515:Hughes (2006: 47n1) 5461:Massai (2001: lxxx) 5382:Waith (1984: 50–51) 5360:Harcourt Williams, 5306:Ungerer (1961: 102) 5270:Kendall (1989: 300) 5252:Massai (2001: xxxi) 5204:Vickers (2002: 240) 5079:Waith (1984: 84n23) 4922:Price (1943: 55–65) 4913:Sampley (1936: 693) 4904:Vickers (2002: 137) 4891:Philip Timberlake, 4756:Bloom (1998; 77–86) 4556:Massai (2001: xxiv) 4409:Massai (2001: xxix) 4391:Waith (1984: 30–34) 4288:Hunter (1983b: 183) 4235:Bullough (1964: 24) 4217:Waith (1984: 28–29) 4181:Waith (1984: 27–28) 4127:Huffman (1972: 735) 4002:BBC Third Programme 3561:Bedeutungslosigkeit 3507:Jeanette Lambermont 3259:Nathaniel Bannister 3210:The Rape of Lavinia 3091:Cultural Revolution 3047:production starred 2956:The Daily Telegraph 2868:Shakespeare's Globe 2821:Plays International 2757:J. Kenneth Campbell 2555:concentration camps 2436:Blackfriars Theatre 2402:Titus and Vespasian 2390:Titus and Vespasian 2386:Titus and Vespasian 1903:and an analysis of 1451:The Peacham drawing 1274:The Rape of Lucrece 1135:The Spanish Tragedy 1011:Penguin Shakespeare 384:Setting and sources 67:William Shakespeare 46:, published in 1623 16:Play by Shakespeare 9607:Fiction about rape 9393:(first century AD) 9333:Emperor Saturninus 9198:Edmund Shakespeare 9156:Hamnet Shakespeare 9053:Screen adaptations 8776:Sir John Oldcastle 8674:Arden of Faversham 7923:, 10 (1957), 26–35 7921:Shakespeare Survey 7900:Shakespeare Survey 7891:, 9 (1976), 89–105 7876:, 27 (1974), 11–19 7874:Shakespeare Survey 7826:, 10 (1957), 27–38 7824:Shakespeare Survey 7693:, 14 (1919), 16–37 7679:Critical Quarterly 7639:, 14 (1981), 85–98 7631:Miola, Robert S. " 7550:Metz, G. Harold. " 7365:, 10 (1957), 60–70 7363:Shakespeare Survey 7154:, 10 (1979), 71–92 6985:Dover Wilson, John 6758:Starks (2002: 122) 6747:The New York Times 6453:. Australian Stage 6327:Barnet (2005: 157) 6318:Barnet (2005: 155) 6169:The Jersey Journal 6106:on 29 October 2012 5790:Eleanor Collins, " 5726:Pete Wood (2006). 5705:The New York Times 5232:Shakespeare Survey 5186:Taylor (1997: 149) 4940:Hill (1957: 60–68) 4565:Bate (1995: 66–79) 4538:Waith (1984: 8–10) 4442:images.is.ed.ac.uk 4400:Bate (1995: 83–85) 4226:Bate (1995: 93–94) 4208:Kahn (1997: 70–71) 4199:Waith (1984:36–37) 4190:Maxwell (1953: 92) 4154:Spencer (1957: 32) 4097:Massai (2001: xxi) 4051:Oxford Shakespeare 4045:All references to 3929: 3589:Sydney Opera House 3571:In 2008, Müller's 3482:and the attendant 3351:Theatre of Cruelty 3288: 3218: 3044:The Public Theater 2912: 2864: 2547:theatrical realism 2498:in 1955, starring 2424: 2374:Burley-on-the-Hill 2317:verfremdungseffekt 2296: 2264:RSC production at 2212: 2044: 1937: 1933:Jean-Michel Moreau 1881:Oxford Shakespeare 1863:rhetorical devices 1843: 1652: 1516:Edward Ravenscroft 1487:John Payne Collier 1448: 1393:, the Folger's Q1 1335: 1190: 1054: 1046: 750:Antonio de Guevara 556: 511:Giovanni Boccaccio 477:as if at its death 333: 328:(1709), edited by 239: 48: 9539: 9538: 9264: 9263: 9168:Elizabeth Barnard 9132: 9131: 8861: 8860: 8590: 8589: 8288:The Winter's Tale 8004:Project Gutenberg 7619:Notes and Queries 7613:. "The Source of 7556:Notes and Queries 7413:Notes and Queries 7333:Hamilton, A. C. " 7305:978-1-137-34934-7 7181:Notes and Queries 7152:Renaissance Drama 7137:Christopher Ricks 7129:Notes and Queries 7106:Secondary sources 7009:; Cohen, Walter; 6673:Brooke, Michael. 6400:and Sarah Kane's 6396:, Botho Strauss' 6251:Hughes (2006: 26) 6242:Hughes (2006: 25) 6171:. 18 October 2013 6062:"Serving up Evil" 5488:Hughes (2006: 42) 5391:Dessen (1989: 15) 5373:Dessen (1989: 14) 5351:Dessen (1989: 12) 5342:Hughes (2006: 22) 5279:Sacks (1982: 587) 5243:Dessen (1988: 60) 5168:on 8 January 2009 5158:"Cast Interviews" 5143:Nicholas Brooke, 5039:978-1-5261-7732-2 4612:Notes and Queries 4418:Hughes (2006: 10) 3998:Shakespeare Night 3770:straight-to-video 3500:Matthias Langhoff 3127:Nicolae Ceaușescu 2935:Romulus and Remus 2785:Joel-Peter Witkin 2606:Delacorte Theater 2563:Nuremberg Rallies 2559:massacre at Katyn 2455:Florence Saunders 2224:choric commentary 2139:And in a tedious 1946:linguistic motifs 1889:Arden Shakespeare 1872:iambic pentameter 1391:Henry VI, Part II 1300:, rare words and 1206:Elizabethan plays 1194:playing companies 1149:Arden Shakespeare 1006:Arden Shakespeare 994:play-prose-ballad 984:play-ballad-prose 974:prose-ballad-play 968:John Dover Wilson 963:prose-play-ballad 936:Thomas Millington 788:, founder of the 780:, who introduced 553:Peter Paul Rubens 531:Claudius Aelianus 9619: 9552:Titus Andronicus 9419:Titus Andronicus 9350: 9320:Titus Andronicus 9303:Titus Andronicus 9291: 9284: 9277: 9268: 9267: 9254: 9253: 9244: 9243: 9192:Joan Shakespeare 9174:John Shakespeare 9077: 9076: 9058:Shakespeare and 8769:Sejanus His Fall 8736: 8696:Double Falsehood 8663: 8662: 8647:Venus and Adonis 8598: 8371:Titus Andronicus 8357:Romeo and Juliet 8161: 8160: 8141: 8134: 8127: 8118: 8117: 8090:Titus Andronicus 8067:Titus Andronicus 8051:Titus Andronicus 8039:Titus Andronicus 8036: 8035: 8020: 8017: 8006: 7999:Titus Andronicus 7985:Titus Andronicus 7966:Titus Andronicus 7946:Titus Andronicus 7928:Titus Andronicus 7917:Titus Andronicus 7896:Titus Andronicus 7885:Titus Andronicus 7882: 7870:Titus Andronicus 7859:Titus Andronicus 7844:Titus Andronicus 7813:Titus Andronicus 7792:Titus Andronicus 7763:Speaight, Robert 7755:Rossiter, A. P. 7737:Titus Andronicus 7726:Titus Andronicus 7713:Titus Andronicus 7710: 7698:Titus Andronicus 7687:Titus Andronicus 7674:Titus Andronicus 7654:Titus Andronicus 7633:Titus Andronicus 7615:Titus Andronicus 7602: 7582:Titus Andronicus 7579: 7567:Titus Andronicus 7564: 7539:Titus Andronicus 7526:Titus Andronicus 7521:, 5 (1969), 9–19 7515:Titus Andronicus 7477:Titus Andronicus 7466:Kahn, Coppélia. 7450:Titus Andronicus 7440:Titus Andronicus 7437: 7423:Titus Andronicus 7409:Titus Andronicus 7406: 7394:Titus Andronicus 7383:Titus Andronicus 7370:Titus Andronicus 7359:Titus Andronicus 7348:Titus Andronicus 7335:Titus Andronicus 7315:Titus Andronicus 7291:Titus Andronicus 7267:Henslowe's Diary 7251:Titus Andronicus 7228:Dessen, Alan C. 7201:Titus Andronicus 7190:(book review)", 7177:Titus Andronicus 7148:Titus Andronicus 7124:Titus Andronicus 7099:Titus Andronicus 7074:Titus Andronicus 7053:Titus Andronicus 7046:Titus Andronicus 7039:Titus Andronicus 7032:Titus Andronicus 6989:Titus Andronicus 6979:Titus Andronicus 6962:Titus Andronicus 6924:Titus Andronicus 6915: 6909: 6903: 6893: 6888: 6882: 6875:Titus Andronicus 6871: 6865: 6862: 6856: 6849: 6843: 6840: 6834: 6827:Titus Andronicus 6823: 6817: 6810: 6804: 6797: 6791: 6790: 6782: 6776: 6765: 6759: 6756: 6750: 6749:, 2 January 2000 6743: 6737: 6730: 6724: 6717:Titus Andronicus 6713: 6707: 6700: 6694: 6693: 6691: 6689: 6683:BFI Screenonline 6677:Titus Andronicus 6670: 6664: 6663: 6661: 6659: 6654:on 22 March 2012 6639: 6633: 6632: 6630: 6628: 6608: 6602: 6601: 6599: 6597: 6592:on 21 March 2012 6582: 6576: 6573: 6567: 6566: 6555: 6549: 6548: 6546: 6544: 6533: 6527: 6526: 6524: 6522: 6510: 6504: 6503: 6501: 6499: 6482: 6476: 6469: 6463: 6462: 6460: 6458: 6442: 6436: 6435: 6433: 6431: 6415: 6409: 6394:Titus Andronicus 6390: 6384: 6377: 6371: 6370:, (Winter, 2008) 6360: 6354: 6353:Waith (1984: 54) 6351: 6345: 6338:Titus Andronicus 6334: 6328: 6325: 6319: 6316: 6310: 6303: 6297: 6296:Waith (1984: 49) 6294: 6288: 6285: 6279: 6276: 6270: 6267: 6261: 6258: 6252: 6249: 6243: 6240: 6234: 6233:Waith (1984: 45) 6231: 6225: 6222: 6216: 6213: 6207: 6200: 6194: 6187: 6181: 6180: 6178: 6176: 6161: 6155: 6154: 6152: 6150: 6134: 6130:Titus Andronicus 6122: 6116: 6115: 6113: 6111: 6102:. Archived from 6092:Titus Andronicus 6085: 6079: 6078: 6076: 6074: 6057: 6051: 6050: 6048: 6046: 6037:Titus Andronicus 6031: 6025: 6018:Titus Andronicus 6014: 6008: 5999:Titus Andronicus 5995: 5989: 5987: 5978:Titus Andronicus 5974: 5968: 5967: 5965: 5963: 5946: 5940: 5939: 5937: 5935: 5924: 5920:Titus Andronicus 5915:(22 June 2006). 5909: 5903: 5902: 5900: 5898: 5889:. Archived from 5879:Titus Andronicus 5872: 5866: 5865: 5863: 5861: 5844: 5838: 5837: 5835: 5833: 5817: 5809: 5803: 5801: 5792:Titus Andronicus 5788: 5782: 5781: 5778: 5776: 5774: 5758: 5750: 5744: 5743: 5741: 5739: 5730:Titus Andronicus 5723: 5717: 5716: 5714: 5712: 5695: 5689: 5688: 5686: 5684: 5668: 5660: 5654: 5653: 5651: 5649: 5640:Titus Andronicus 5633: 5627: 5626: 5624: 5622: 5610:Titus Andronicus 5604: 5598: 5597: 5595: 5593: 5577: 5569: 5560: 5557: 5551: 5548: 5542: 5531: 5525: 5522: 5516: 5513: 5507: 5504: 5498: 5495: 5489: 5486: 5480: 5477: 5471: 5468: 5462: 5459: 5453: 5450: 5444: 5443:, 10 August 1967 5438: 5432: 5429: 5423: 5420: 5414: 5407: 5401: 5398: 5392: 5389: 5383: 5380: 5374: 5371: 5365: 5358: 5352: 5349: 5343: 5340: 5334: 5331: 5325: 5322: 5316: 5313: 5307: 5304: 5298: 5295: 5289: 5286: 5280: 5277: 5271: 5268: 5262: 5261:Reese (1970: 78) 5259: 5253: 5250: 5244: 5241: 5235: 5229: 5223: 5220: 5214: 5211: 5205: 5202: 5196: 5195:Bate (1995: 111) 5193: 5187: 5184: 5178: 5177: 5175: 5173: 5164:. Archived from 5154: 5148: 5141: 5135: 5134:Waith (1984: 61) 5132: 5126: 5123: 5117: 5116: 5086: 5080: 5077: 5071: 5066:H. B. Charlton, 5064: 5058: 5057: 5051: 5043: 5025: 5019: 5016: 5010: 5007: 5001: 4998: 4992: 4989: 4983: 4980: 4974: 4971: 4965: 4959: 4953: 4947: 4941: 4938: 4932: 4929: 4923: 4920: 4914: 4911: 4905: 4902: 4896: 4889: 4883: 4880: 4874: 4871: 4865: 4862: 4856: 4853: 4847: 4844: 4838: 4837: 4827: 4821: 4820: 4818: 4816: 4811:on 29 March 2013 4801: 4795: 4788: 4779: 4776:Titus Andronicus 4772: 4766: 4763: 4757: 4754: 4748: 4745: 4739: 4732: 4726: 4721:A. W. Schlegel, 4719: 4713: 4710: 4704: 4701: 4695: 4692: 4686: 4675: 4669: 4668:Waith (1984: 27) 4666: 4660: 4656: 4650: 4643: 4637: 4630: 4624: 4621: 4615: 4608: 4602: 4594: 4588: 4585: 4579: 4572: 4566: 4563: 4557: 4554: 4548: 4545: 4539: 4536: 4530: 4527: 4521: 4520:(Bate; 1995: 75) 4490: 4484: 4483:Hughes (2006: 6) 4481: 4475: 4468: 4462: 4459: 4453: 4452: 4450: 4448: 4434: 4428: 4425: 4419: 4416: 4410: 4407: 4401: 4398: 4392: 4389: 4383: 4380: 4374: 4371: 4365: 4362: 4356: 4353: 4347: 4344: 4338: 4335: 4329: 4326: 4320: 4313: 4307: 4304: 4298: 4295: 4289: 4286: 4280: 4277: 4271: 4266:A. C. Hamilton, 4264: 4258: 4255: 4249: 4242: 4236: 4233: 4227: 4224: 4218: 4215: 4209: 4206: 4200: 4197: 4191: 4188: 4182: 4179: 4173: 4172:Waith (1984: 35) 4170: 4164: 4163:Jones (1977: 90) 4161: 4155: 4152: 4146: 4143: 4137: 4134: 4128: 4125: 4119: 4112:Titus Andronicus 4104: 4098: 4095: 4086: 4084: 4072: 4062: 4047:Titus Andronicus 4018:Michael Aldridge 3901:Northern Ireland 3835:Naseeruddin Shah 3825:Titus Andronicus 3749:Theatre of Blood 3737:Lesley-Anne Down 3689:to the tune of " 3585:Canberra Theatre 3577:Cremorne Theatre 3563: 3553: 3552: 3547: 3537: 3519:Nicholas Pennell 3465: 3462: 3461: 3457:Anatomie Titus: 3444:Leonie Mellinger 3404: 3380:Margaret Whiting 3320:reviewer wrote, 3311:The Sunday Times 3286: 3283: 3230:Thomas Betterton 3228:, probably with 3174:is identical to 3153: 3147: 3123:Silviu Purcărete 3060:Michael Fentiman 3005:Titus Andronicus 2996: 2986: 2952: 2829:Titus Andronicus 2737:Peter Polycarpou 2644:Byzantine Empire 2631:Titus Andronicus 2571:Benito Mussolini 2500:Laurence Olivier 2428:Lord Chamberlain 2406:Titus Andronicus 2376:in the manor of 2320: 2288:Samuel Woodforde 2202: 2031: 1939:The language of 1861:distribution of 1774:John Monck Mason 1693:Titus Andronicus 1620:Titus Andronicus 1596:Titus Andronicus 1581:Titus Andronicus 1525: 1502:Critical history 1491:Titus Andronicus 1467:Marquess of Bath 1445: 1442: 1430:Titus Andronicus 1343:Henslowe's Diary 1326:, in late 1593. 1323:Romeo and Juliet 1313:Henry VI, Part 3 1307:Henry VI, Part 2 1268:Venus and Adonis 1230:Titus Andronicus 1180: 1177: 1169: 1166: 1158: 1155: 1115:Bartholomew Fair 1084:under the title 1058:Titus Andronicus 926:under the title 889:Titus Andronicus 868:Scipio Africanus 831:George Puttenham 740:, co-emperor of 691: 688: 570: 567: 515:Geoffrey Chaucer 433:Titus Andronicus 395:Titus Andronicus 116:Titus Andronicus 103:graphic violence 95:Titus Andronicus 58:Titus Andronicus 9627: 9626: 9622: 9621: 9620: 9618: 9617: 9616: 9542: 9541: 9540: 9535: 9516:Edmund Ironside 9460:Peacham drawing 9448: 9404: 9398:Gesta Romanorum 9366:Ab Urbe Condita 9351: 9342: 9306: 9295: 9265: 9260: 9221: 9170:(granddaughter) 9128: 9075: 9004: 8970:Religious views 8948:Curtain Theatre 8869: 8857: 8832: 8783:Sir Thomas More 8729: 8703:Edmund Ironside 8652: 8599: 8586: 8560:Ghost character 8520: 8492: 8383: 8364:Timon of Athens 8293: 8150: 8145: 8033: 8018: 7996: 7990:Standard Ebooks 7980: 7975: 7880: 7802:Schlueter, June 7747:Robertson, J.M. 7708: 7600: 7577: 7562: 7535:Marti, Marcus. 7454:Themes in Drama 7435: 7411:– once again", 7404: 7325:Halliday, F. E. 7108: 7011:Howard, Jean E. 6927: 6919: 6918: 6910: 6906: 6891: 6889: 6885: 6872: 6868: 6863: 6859: 6850: 6846: 6841: 6837: 6824: 6820: 6811: 6807: 6798: 6794: 6784: 6783: 6779: 6766: 6762: 6757: 6753: 6744: 6740: 6731: 6727: 6714: 6710: 6701: 6697: 6687: 6685: 6671: 6667: 6657: 6655: 6640: 6636: 6626: 6624: 6609: 6605: 6595: 6593: 6584: 6583: 6579: 6574: 6570: 6557: 6556: 6552: 6542: 6540: 6535: 6534: 6530: 6520: 6518: 6511: 6507: 6497: 6495: 6483: 6479: 6470: 6466: 6456: 6454: 6443: 6439: 6429: 6427: 6426:. Theatre Notes 6416: 6412: 6391: 6387: 6381:Theatre Journal 6378: 6374: 6362:Steve Earnst, " 6361: 6357: 6352: 6348: 6335: 6331: 6326: 6322: 6317: 6313: 6304: 6300: 6295: 6291: 6286: 6282: 6277: 6273: 6268: 6264: 6259: 6255: 6250: 6246: 6241: 6237: 6232: 6228: 6223: 6219: 6215:Bate (1995: 47) 6214: 6210: 6201: 6197: 6188: 6184: 6174: 6172: 6163: 6162: 6158: 6148: 6146: 6138:The Independent 6123: 6119: 6109: 6107: 6086: 6082: 6072: 6070: 6058: 6054: 6044: 6042: 6033: 6032: 6028: 6015: 6011: 6004:The Independent 5996: 5992: 5975: 5971: 5961: 5959: 5947: 5943: 5933: 5931: 5910: 5906: 5896: 5894: 5893:on 8 April 2007 5873: 5869: 5859: 5857: 5845: 5841: 5831: 5829: 5810: 5806: 5789: 5785: 5779: 5772: 5770: 5762:Financial Times 5751: 5747: 5737: 5735: 5724: 5720: 5710: 5708: 5696: 5692: 5682: 5680: 5661: 5657: 5647: 5645: 5634: 5630: 5620: 5618: 5606: 5605: 5601: 5591: 5589: 5570: 5563: 5558: 5554: 5549: 5545: 5532: 5528: 5523: 5519: 5514: 5510: 5505: 5501: 5496: 5492: 5487: 5483: 5478: 5474: 5469: 5465: 5460: 5456: 5451: 5447: 5439: 5435: 5430: 5426: 5421: 5417: 5408: 5404: 5399: 5395: 5390: 5386: 5381: 5377: 5372: 5368: 5359: 5355: 5350: 5346: 5341: 5337: 5332: 5328: 5324:Waith (1984: 8) 5323: 5319: 5314: 5310: 5305: 5301: 5296: 5292: 5288:Waith (1984: 2) 5287: 5283: 5278: 5274: 5269: 5265: 5260: 5256: 5251: 5247: 5242: 5238: 5230: 5226: 5221: 5217: 5212: 5208: 5203: 5199: 5194: 5190: 5185: 5181: 5171: 5169: 5156: 5155: 5151: 5142: 5138: 5133: 5129: 5124: 5120: 5105:10.2307/2870725 5087: 5083: 5078: 5074: 5065: 5061: 5045: 5044: 5040: 5026: 5022: 5017: 5013: 5008: 5004: 4999: 4995: 4990: 4986: 4981: 4977: 4972: 4968: 4960: 4956: 4948: 4944: 4939: 4935: 4930: 4926: 4921: 4917: 4912: 4908: 4903: 4899: 4890: 4886: 4881: 4877: 4872: 4868: 4863: 4859: 4854: 4850: 4845: 4841: 4828: 4824: 4814: 4812: 4803: 4802: 4798: 4789: 4782: 4773: 4769: 4765:Kott (1964: 27) 4764: 4760: 4755: 4751: 4746: 4742: 4733: 4729: 4720: 4716: 4711: 4707: 4702: 4698: 4693: 4689: 4676: 4672: 4667: 4663: 4657: 4653: 4644: 4640: 4632:Andrew Murphy, 4631: 4627: 4622: 4618: 4609: 4605: 4595: 4591: 4586: 4582: 4573: 4569: 4564: 4560: 4555: 4551: 4546: 4542: 4537: 4533: 4528: 4524: 4491: 4487: 4482: 4478: 4469: 4465: 4460: 4456: 4446: 4444: 4436: 4435: 4431: 4427:Bate (1995: 70) 4426: 4422: 4417: 4413: 4408: 4404: 4399: 4395: 4390: 4386: 4381: 4377: 4372: 4368: 4363: 4359: 4354: 4350: 4345: 4341: 4336: 4332: 4328:Adams (1936: 8) 4327: 4323: 4314: 4310: 4306:Law (1943: 147) 4305: 4301: 4296: 4292: 4287: 4283: 4278: 4274: 4265: 4261: 4257:Bate (1995: 92) 4256: 4252: 4244:Frances Yates, 4243: 4239: 4234: 4230: 4225: 4221: 4216: 4212: 4207: 4203: 4198: 4194: 4189: 4185: 4180: 4176: 4171: 4167: 4162: 4158: 4153: 4149: 4145:Bate (1995: 19) 4144: 4140: 4136:West (1982: 74) 4135: 4131: 4126: 4122: 4105: 4101: 4096: 4089: 4081: 4063: 4059: 4043: 4038: 4022:Barbara Jefford 4006:Baliol Holloway 3990: 3855: 3827:was adapted as 3800:Angus Macfadyen 3787:Anthony Hopkins 3733:Christopher Lee 3725: 3668: 3432:Patrick Stewart 3384:Robert Helpmann 3382:as Lavinia and 3376:Barbara Jefford 3284: 3234:Samuel Sandford 3197:and the German 3140: 3135: 3111:Nenni Delmestre 3107:Daniel Mesguich 3028:Valerie Leonard 3024:Sam Tsoutsouvas 3000:The Independent 2984: 2844:Maureen Beattie 2777:Melinda Mullins 2708:Jennifer Phipps 2675:Calvin Lockhart 2671:Margaret Tyzack 2622:Olympia Dukakis 2598:Gerald Freedman 2475:Yale University 2471:Alpha Delta Phi 2354: 2349: 2343: 2203: 2200: 2197: 2194: 2192: 2190: 2188: 2186: 2184: 2181:Thracian poet's 2174: 2172: 2170: 2168: 2166: 2164: 2154: 2152: 2150: 2148: 2146: 2144: 2143:sewed her mind; 2138: 2136: 2134: 2132: 2130: 2128: 2126: 2124: 2118: 2116: 2114: 2112: 2110: 2108: 2106: 2104: 2102: 2100: 2098: 2096: 2094: 2092: 2090: 2088: 2086: 2084: 2082: 2080: 2032: 2029: 2026: 2023: 2021: 2019: 2013: 2011: 2009: 1926: 1778:William Hazlitt 1754:William Guthrie 1746:George Steevens 1696: 1687: 1523: 1504: 1499: 1459: 1457:Peacham drawing 1453: 1443: 1421:, an annotated 1363: 1351:Newington Butts 1178: 1167: 1156: 1072:", probably at 1062:Philip Henslowe 1034: 1029: 956:at the latest. 909:Richard Johnson 885: 689: 682:Ab urbe condita 568: 519:William Painter 507:Matteo Bandello 498:Gesta Romanorum 493: 391: 386: 288:During a royal 228: 223: 151:Emperor of Rome 111: 28: 17: 12: 11: 5: 9625: 9615: 9614: 9609: 9604: 9599: 9594: 9589: 9584: 9579: 9574: 9569: 9564: 9559: 9554: 9537: 9536: 9534: 9533: 9525: 9520: 9512: 9504: 9499: 9494: 9489: 9484: 9479: 9472: 9467: 9462: 9456: 9454: 9450: 9449: 9447: 9446: 9438: 9431: 9423: 9414: 9412: 9406: 9405: 9403: 9402: 9394: 9386: 9374: 9361: 9359: 9353: 9352: 9345: 9343: 9341: 9340: 9337: 9334: 9331: 9328: 9325: 9322: 9316: 9314: 9308: 9307: 9294: 9293: 9286: 9279: 9271: 9262: 9261: 9259: 9258: 9248: 9237: 9236: 9233: 9226: 9223: 9222: 9220: 9219: 9213: 9207: 9201: 9195: 9189: 9183: 9177: 9171: 9165: 9159: 9153: 9147: 9140: 9138: 9134: 9133: 9130: 9129: 9127: 9126: 9121: 9115: 9110: 9109: 9108: 9098: 9097: 9096: 9083: 9081: 9074: 9073: 9068: 9063: 9055: 9050: 9045: 9040: 9035: 9030: 9025: 9020: 9014: 9012: 9006: 9005: 9003: 9002: 8997: 8992: 8987: 8982: 8977: 8972: 8967: 8962: 8957: 8952: 8951: 8950: 8945: 8931: 8926: 8921: 8916: 8911: 8909:Collaborations 8906: 8901: 8900: 8899: 8894: 8882: 8876: 8874: 8863: 8862: 8859: 8858: 8856: 8855: 8848: 8840: 8838: 8834: 8833: 8831: 8830: 8823: 8816: 8808: 8801: 8794: 8787: 8779: 8772: 8765: 8758: 8751: 8744: 8737: 8727: 8720: 8713: 8706: 8699: 8692: 8684: 8677: 8669: 8667: 8660: 8654: 8653: 8651: 8650: 8643: 8636: 8629: 8622: 8621: 8620: 8607: 8605: 8601: 8600: 8593: 8591: 8588: 8587: 8585: 8584: 8579: 8574: 8569: 8564: 8563: 8562: 8557: 8552: 8544: 8539: 8534: 8528: 8526: 8522: 8521: 8519: 8518: 8513: 8508: 8502: 8500: 8498:Early editions 8494: 8493: 8491: 8490: 8482: 8475: 8474: 8473: 8466: 8459: 8444: 8437: 8436: 8435: 8428: 8416: 8409: 8401: 8393: 8391: 8385: 8384: 8382: 8381: 8374: 8367: 8360: 8353: 8346: 8339: 8332: 8325: 8318: 8311: 8303: 8301: 8295: 8294: 8292: 8291: 8284: 8276: 8269: 8262: 8255: 8248: 8240: 8233: 8226: 8219: 8212: 8205: 8198: 8191: 8184: 8181:As You Like It 8177: 8169: 8167: 8158: 8152: 8151: 8144: 8143: 8136: 8129: 8121: 8115: 8114: 8102: 8086: 8076: 8062: 8046: 8030: 8022: 8007: 7994: 7992: 7979: 7978:External links 7976: 7974: 7973: 7962: 7953: 7942: 7935: 7924: 7913: 7906:Vickers, Brian 7903: 7892: 7877: 7866: 7855: 7838: 7827: 7820: 7809: 7799: 7788: 7779: 7770: 7760: 7753: 7744: 7733: 7722: 7705: 7694: 7683: 7670: 7661: 7650: 7640: 7629: 7622: 7611:Mincoff, Marco 7608: 7597: 7574: 7559: 7548: 7533: 7522: 7511: 7501: 7494: 7484: 7473: 7464: 7459:Jones, Emrys. 7457: 7446: 7432: 7416: 7401: 7390: 7379: 7366: 7355: 7344: 7331: 7322: 7311:Non sine causa 7309:Haaker, Ann. " 7307: 7287: 7277: 7270: 7260: 7247: 7242:Duthie, G. I. 7240: 7233: 7226: 7217:Daniel, P. A. 7215: 7210:Cohen, Derek. 7208: 7197: 7184: 7169: 7162: 7155: 7144: 7133: 7120: 7109: 7107: 7104: 7103: 7102: 7095: 7080:Wells, Stanley 7077: 7070: 7056: 7049: 7042: 7035: 7028: 7021:Harrison, G.B. 7018: 7004: 6992: 6982: 6975: 6968:Bate, Jonathan 6965: 6958:Bate, Jonathan 6955: 6948:Barnet, Sylvan 6945: 6938: 6926: 6920: 6917: 6916: 6904: 6890:Anne Gossage, 6883: 6866: 6857: 6844: 6835: 6818: 6812:Susan Willis, 6805: 6792: 6777: 6760: 6751: 6738: 6725: 6708: 6695: 6665: 6634: 6603: 6577: 6568: 6550: 6528: 6505: 6477: 6464: 6437: 6410: 6385: 6372: 6355: 6346: 6329: 6320: 6311: 6298: 6289: 6280: 6271: 6262: 6253: 6244: 6235: 6226: 6217: 6208: 6204:Tito Andronico 6195: 6182: 6156: 6117: 6080: 6052: 6026: 6009: 6007:(22 June 2006) 5990: 5969: 5941: 5904: 5867: 5839: 5804: 5783: 5745: 5718: 5690: 5655: 5628: 5599: 5561: 5552: 5543: 5526: 5517: 5508: 5499: 5497:Bate (1996: 1) 5490: 5481: 5472: 5463: 5454: 5445: 5441:New York Times 5433: 5424: 5415: 5409:J. C. Trewin, 5402: 5393: 5384: 5375: 5366: 5353: 5344: 5335: 5326: 5317: 5308: 5299: 5290: 5281: 5272: 5263: 5254: 5245: 5236: 5224: 5215: 5206: 5197: 5188: 5179: 5149: 5136: 5127: 5118: 5099:(3): 299–316. 5081: 5072: 5059: 5038: 5020: 5011: 5002: 5000:Carroll (2004) 4993: 4984: 4975: 4966: 4954: 4942: 4933: 4924: 4915: 4906: 4897: 4884: 4875: 4866: 4857: 4848: 4839: 4822: 4796: 4780: 4767: 4758: 4749: 4740: 4727: 4714: 4705: 4696: 4687: 4670: 4661: 4651: 4638: 4625: 4616: 4603: 4589: 4580: 4567: 4558: 4549: 4540: 4531: 4522: 4503:Sapho and Phao 4485: 4476: 4463: 4454: 4429: 4420: 4411: 4402: 4393: 4384: 4375: 4366: 4364:Mincoff (1971) 4357: 4355:Sargent (1971) 4348: 4339: 4330: 4321: 4308: 4299: 4290: 4281: 4272: 4259: 4250: 4237: 4228: 4219: 4210: 4201: 4192: 4183: 4174: 4165: 4156: 4147: 4138: 4129: 4120: 4099: 4087: 4079: 4056: 4055: 4042: 4039: 4037: 4034: 3989: 3986: 3884:Trevor Peacock 3854: 3851: 3812:in and around 3754:Douglas Hickox 3752:, directed by 3724: 3721: 3695:Britney Spears 3667: 3664: 3631:. Directed by 3603:. Directed by 3573:Anatomie Titus 3551:"Terra Secura" 3436:Sheila Hancock 3366:. Directed by 3347:Irving Theatre 3296:C. A. Somerset 3199:Tito Andronico 3172:Tito Andronico 3139: 3136: 3134: 3131: 3053:Lucille Lortel 3049:Jay O. Sanders 3040:Michael Sexton 2922:Yukio Ninagawa 2920:. Directed by 2889:William Dudley 2870:, directed by 2836:Bill Alexander 2800:Market Theatre 2773:Robert Stattel 2761:Bruce A. Young 2733:Estelle Kohler 2725:Barbican's Pit 2618:Jack Hollander 2508:Anthony Quayle 2479:John M. Berdan 2473:fraternity of 2451:Wilfred Walter 2432:King's Company 2353: 2350: 2345:Main article: 2342: 2339: 2335:Peter M. Sacks 2274:Donald Sumpter 2262:Deborah Warner 2198: 2155:Tremble, like 2077: 2027: 2002: 1925: 1922: 1847:E. K. Chambers 1816:Hermann Ulrici 1808:Charles Knight 1770:John Pinkerton 1766:Richard Farmer 1762:Benjamin Heath 1742:Samuel Johnson 1738:Lewis Theobald 1734:Alexander Pope 1709:Palladis Tamia 1691:Authorship of 1689:Main article: 1686: 1683: 1528:Samuel Johnson 1503: 1500: 1498: 1495: 1455:Main article: 1452: 1449: 1362: 1359: 1302:function words 1298:colloquialisms 1202:Pembroke's Men 1033: 1030: 1028: 1025: 884: 881: 799:, daughter of 790:Roman Republic 702:Lucius Icilius 579:, daughter of 492: 489: 435:is Rome after 390: 387: 385: 382: 227: 224: 222: 221: 207: 204: 201: 196: 193: 188: 185: 178: 175: 172: 169: 166: 160: 157: 154: 147: 144: 137: 134: 131: 128: 125: 122: 119: 112: 110: 107: 36:First page of 15: 9: 6: 4: 3: 2: 9624: 9613: 9612:Revenge plays 9610: 9608: 9605: 9603: 9600: 9598: 9595: 9593: 9590: 9588: 9585: 9583: 9580: 9578: 9575: 9573: 9570: 9568: 9565: 9563: 9560: 9558: 9555: 9553: 9550: 9549: 9547: 9531: 9530: 9526: 9524: 9521: 9518: 9517: 9513: 9510: 9509: 9505: 9503: 9502:Grand Guignol 9500: 9498: 9495: 9493: 9490: 9488: 9485: 9483: 9480: 9477: 9473: 9471: 9468: 9466: 9463: 9461: 9458: 9457: 9455: 9451: 9444: 9443: 9439: 9436: 9432: 9429: 9428: 9424: 9421: 9420: 9416: 9415: 9413: 9411: 9407: 9400: 9399: 9395: 9392: 9391: 9387: 9384: 9380: 9379: 9378:Metamorphoses 9375: 9372: 9368: 9367: 9363: 9362: 9360: 9358: 9354: 9349: 9338: 9335: 9332: 9329: 9326: 9323: 9321: 9318: 9317: 9315: 9313: 9309: 9305: 9304: 9299: 9292: 9287: 9285: 9280: 9278: 9273: 9272: 9269: 9257: 9249: 9247: 9239: 9238: 9234: 9232: 9228: 9227: 9224: 9217: 9216:Thomas Quiney 9214: 9211: 9208: 9206:(grandfather) 9205: 9202: 9199: 9196: 9193: 9190: 9187: 9184: 9181: 9178: 9175: 9172: 9169: 9166: 9163: 9162:Judith Quiney 9160: 9157: 9154: 9151: 9148: 9145: 9144:Anne Hathaway 9142: 9141: 9139: 9135: 9125: 9122: 9119: 9116: 9114: 9111: 9107: 9104: 9103: 9102: 9099: 9095: 9094: 9090: 9089: 9088: 9085: 9084: 9082: 9078: 9072: 9069: 9067: 9064: 9062: 9061: 9056: 9054: 9051: 9049: 9046: 9044: 9041: 9039: 9036: 9034: 9031: 9029: 9026: 9024: 9021: 9019: 9016: 9015: 9013: 9011: 9007: 9001: 8998: 8996: 8993: 8991: 8988: 8986: 8983: 8981: 8978: 8976: 8973: 8971: 8968: 8966: 8963: 8961: 8958: 8956: 8953: 8949: 8946: 8944: 8941: 8940: 8939: 8935: 8932: 8930: 8927: 8925: 8924:Globe Theatre 8922: 8920: 8917: 8915: 8912: 8910: 8907: 8905: 8902: 8898: 8895: 8893: 8892: 8888: 8887: 8886: 8883: 8881: 8878: 8877: 8875: 8873: 8868: 8864: 8854: 8853: 8849: 8847: 8846: 8842: 8841: 8839: 8835: 8829: 8828: 8824: 8822: 8821: 8817: 8814: 8813: 8809: 8807: 8806: 8802: 8800: 8799: 8795: 8793: 8792: 8788: 8785: 8784: 8780: 8778: 8777: 8773: 8771: 8770: 8766: 8764: 8763: 8759: 8757: 8756: 8752: 8750: 8749: 8745: 8743: 8742: 8738: 8734: 8733: 8728: 8726: 8725: 8721: 8719: 8718: 8714: 8712: 8711: 8707: 8705: 8704: 8700: 8698: 8697: 8693: 8690: 8689: 8685: 8683: 8682: 8678: 8676: 8675: 8671: 8670: 8668: 8664: 8661: 8659: 8655: 8649: 8648: 8644: 8642: 8641: 8637: 8635: 8634: 8630: 8628: 8627: 8623: 8619: 8616: 8615: 8614: 8613: 8609: 8608: 8606: 8602: 8597: 8583: 8580: 8578: 8575: 8573: 8570: 8568: 8565: 8561: 8558: 8556: 8553: 8551: 8548: 8547: 8545: 8543: 8540: 8538: 8537:Late romances 8535: 8533: 8532:Problem plays 8530: 8529: 8527: 8523: 8517: 8514: 8512: 8509: 8507: 8504: 8503: 8501: 8499: 8495: 8488: 8487: 8483: 8481: 8480: 8476: 8472: 8471: 8467: 8465: 8464: 8460: 8457: 8456: 8452: 8451: 8450: 8449: 8445: 8443: 8442: 8438: 8434: 8433: 8429: 8427: 8426: 8422: 8421: 8420: 8417: 8415: 8414: 8410: 8407: 8406: 8402: 8400: 8399: 8395: 8394: 8392: 8390: 8386: 8380: 8379: 8375: 8373: 8372: 8368: 8366: 8365: 8361: 8359: 8358: 8354: 8352: 8351: 8347: 8345: 8344: 8340: 8338: 8337: 8333: 8331: 8330: 8329:Julius Caesar 8326: 8324: 8323: 8319: 8317: 8316: 8312: 8310: 8309: 8305: 8304: 8302: 8300: 8296: 8290: 8289: 8285: 8282: 8281: 8277: 8275: 8274: 8270: 8268: 8267: 8266:Twelfth Night 8263: 8261: 8260: 8256: 8254: 8253: 8249: 8246: 8245: 8241: 8239: 8238: 8234: 8232: 8231: 8227: 8225: 8224: 8220: 8218: 8217: 8213: 8211: 8210: 8206: 8204: 8203: 8199: 8197: 8196: 8192: 8190: 8189: 8185: 8183: 8182: 8178: 8176: 8175: 8171: 8170: 8168: 8166: 8162: 8159: 8157: 8153: 8149: 8142: 8137: 8135: 8130: 8128: 8123: 8122: 8119: 8112: 8108: 8107: 8103: 8100: 8096: 8092: 8091: 8087: 8084: 8080: 8077: 8074: 8072: 8068: 8063: 8060: 8059: 8054: 8052: 8047: 8045: 8041: 8040: 8031: 8028: 8027: 8023: 8013: 8012: 8008: 8005: 8001: 8000: 7995: 7993: 7991: 7987: 7986: 7982: 7981: 7971: 7967: 7963: 7960: 7957: 7956:Wilson, F. P. 7954: 7951: 7947: 7943: 7940: 7936: 7933: 7929: 7925: 7922: 7918: 7914: 7911: 7907: 7904: 7901: 7897: 7893: 7890: 7886: 7878: 7875: 7871: 7867: 7864: 7860: 7856: 7853: 7852: 7847: 7845: 7839: 7836: 7832: 7828: 7825: 7821: 7818: 7814: 7810: 7807: 7803: 7800: 7797: 7793: 7789: 7786: 7785: 7780: 7777: 7776: 7771: 7768: 7764: 7761: 7758: 7754: 7751: 7748: 7745: 7742: 7738: 7734: 7731: 7727: 7723: 7720: 7719: 7714: 7706: 7703: 7699: 7695: 7692: 7688: 7684: 7681: 7680: 7675: 7671: 7668: 7665: 7664:Onions, C. T. 7662: 7659: 7655: 7651: 7648: 7644: 7643:Muir, Kenneth 7641: 7638: 7634: 7630: 7627: 7623: 7620: 7616: 7612: 7609: 7606: 7598: 7595: 7591: 7590:Julius Caesar 7587: 7583: 7575: 7572: 7568: 7560: 7557: 7553: 7549: 7546: 7542: 7540: 7534: 7531: 7527: 7523: 7520: 7516: 7512: 7509: 7505: 7502: 7499: 7495: 7492: 7489: 7485: 7482: 7478: 7474: 7471: 7470: 7465: 7462: 7458: 7455: 7451: 7447: 7445: 7441: 7433: 7430: 7429: 7424: 7420: 7417: 7414: 7410: 7402: 7399: 7395: 7391: 7388: 7384: 7380: 7377: 7376: 7371: 7367: 7364: 7360: 7356: 7353: 7349: 7345: 7342: 7341: 7336: 7332: 7329: 7326: 7323: 7320: 7316: 7312: 7308: 7306: 7302: 7298: 7297: 7292: 7288: 7285: 7281: 7280:Goodwin, John 7278: 7275: 7271: 7268: 7264: 7263:Foakes, R. A. 7261: 7258: 7257: 7252: 7248: 7245: 7241: 7238: 7234: 7231: 7227: 7224: 7220: 7216: 7213: 7209: 7206: 7202: 7198: 7195: 7194: 7189: 7185: 7182: 7178: 7174: 7170: 7167: 7163: 7160: 7156: 7153: 7149: 7145: 7142: 7138: 7134: 7131: 7130: 7125: 7121: 7118: 7114: 7113:Bloom, Harold 7111: 7110: 7100: 7096: 7093: 7089: 7085: 7081: 7078: 7075: 7071: 7068: 7064: 7060: 7057: 7054: 7050: 7047: 7043: 7040: 7036: 7033: 7029: 7026: 7022: 7019: 7016: 7012: 7008: 7005: 7002: 7001: 6996: 6993: 6990: 6986: 6983: 6980: 6976: 6973: 6969: 6966: 6963: 6959: 6956: 6953: 6949: 6946: 6943: 6939: 6936: 6932: 6929: 6928: 6925: 6914: 6908: 6901: 6897: 6887: 6880: 6876: 6870: 6861: 6854: 6848: 6839: 6832: 6828: 6822: 6815: 6809: 6802: 6796: 6788: 6781: 6774: 6770: 6764: 6755: 6748: 6742: 6735: 6729: 6722: 6718: 6712: 6705: 6699: 6684: 6680: 6678: 6669: 6653: 6649: 6647: 6638: 6622: 6618: 6616: 6607: 6591: 6587: 6581: 6572: 6564: 6560: 6554: 6538: 6532: 6516: 6509: 6494: 6493: 6488: 6481: 6474: 6468: 6452: 6450: 6441: 6425: 6423: 6414: 6407: 6403: 6399: 6395: 6389: 6382: 6376: 6369: 6365: 6359: 6350: 6343: 6339: 6333: 6324: 6315: 6308: 6302: 6293: 6284: 6275: 6266: 6257: 6248: 6239: 6230: 6221: 6212: 6205: 6199: 6192: 6186: 6170: 6166: 6160: 6144: 6140: 6139: 6133: 6131: 6121: 6105: 6101: 6100: 6095: 6093: 6084: 6069: 6068: 6063: 6056: 6040: 6038: 6030: 6023: 6019: 6013: 6006: 6005: 6000: 5994: 5986: 5985: 5979: 5973: 5958: 5957: 5952: 5945: 5930: 5929: 5923: 5921: 5914: 5908: 5892: 5888: 5887: 5882: 5880: 5871: 5856: 5855: 5850: 5843: 5827: 5823: 5822: 5816: 5808: 5800: 5799: 5793: 5787: 5768: 5764: 5763: 5757: 5749: 5733: 5731: 5722: 5707: 5706: 5701: 5694: 5678: 5674: 5673: 5667: 5659: 5643: 5641: 5632: 5617: 5613: 5611: 5603: 5587: 5583: 5582: 5576: 5568: 5566: 5556: 5547: 5540: 5536: 5530: 5521: 5512: 5503: 5494: 5485: 5476: 5467: 5458: 5449: 5442: 5437: 5428: 5419: 5412: 5406: 5397: 5388: 5379: 5370: 5363: 5357: 5348: 5339: 5330: 5321: 5312: 5303: 5294: 5285: 5276: 5267: 5258: 5249: 5240: 5233: 5228: 5219: 5210: 5201: 5192: 5183: 5167: 5163: 5159: 5153: 5146: 5140: 5131: 5122: 5114: 5110: 5106: 5102: 5098: 5094: 5093: 5085: 5076: 5069: 5063: 5055: 5049: 5041: 5035: 5031: 5024: 5015: 5009:Pruitt (2017) 5006: 4997: 4988: 4979: 4970: 4963: 4958: 4951: 4946: 4937: 4928: 4919: 4910: 4901: 4894: 4888: 4879: 4870: 4861: 4852: 4843: 4835: 4834: 4833:New York Post 4826: 4810: 4806: 4800: 4793: 4787: 4785: 4777: 4774:A. L. Rowse, 4771: 4762: 4753: 4744: 4737: 4731: 4724: 4718: 4709: 4700: 4691: 4684: 4680: 4674: 4665: 4655: 4648: 4642: 4635: 4629: 4620: 4613: 4607: 4600: 4593: 4584: 4577: 4571: 4562: 4553: 4544: 4535: 4526: 4519: 4515: 4511: 4510: 4505: 4504: 4499: 4495: 4489: 4480: 4473: 4467: 4458: 4443: 4439: 4433: 4424: 4415: 4406: 4397: 4388: 4379: 4370: 4361: 4352: 4343: 4334: 4325: 4318: 4312: 4303: 4294: 4285: 4276: 4269: 4263: 4254: 4247: 4241: 4232: 4223: 4214: 4205: 4196: 4187: 4178: 4169: 4160: 4151: 4142: 4133: 4124: 4117: 4113: 4109: 4106:In the First 4103: 4094: 4092: 4082: 4080:9780691064543 4076: 4071: 4070: 4061: 4057: 4054: 4052: 4048: 4033: 4031: 4027: 4026:Julian Glover 4023: 4019: 4015: 4011: 4010:Sonia Dresdal 4007: 4003: 3999: 3995: 3985: 3983: 3982: 3976: 3973: 3969: 3965: 3964: 3958: 3954: 3951: 3945: 3943: 3939: 3935: 3926: 3921: 3917: 3914: 3910: 3906: 3902: 3897: 3893: 3889: 3888:Eileen Atkins 3885: 3881: 3877: 3876: 3871: 3866: 3864: 3860: 3850: 3848: 3844: 3840: 3836: 3832: 3831: 3826: 3821: 3819: 3815: 3811: 3807: 3803: 3801: 3796: 3792: 3791:Jessica Lange 3788: 3784: 3783: 3777: 3775: 3771: 3766: 3764: 3763:Robert Morley 3759: 3758:Vincent Price 3755: 3751: 3750: 3745: 3744:horror comedy 3740: 3738: 3735:as Titus and 3734: 3730: 3720: 3718: 3714: 3710: 3706: 3702: 3700: 3696: 3692: 3688: 3684: 3680: 3676: 3672: 3663: 3660: 3656: 3652: 3649: 3645: 3640: 3638: 3634: 3633:Tang Shu-wing 3630: 3626: 3621: 3619: 3615: 3610: 3606: 3602: 3598: 3594: 3590: 3586: 3582: 3578: 3574: 3569: 3567: 3562: 3557: 3546: 3541: 3536: 3531: 3526: 3524: 3523:Goldie Semple 3520: 3516: 3512: 3508: 3503: 3501: 3497: 3496:Manfred Karge 3493: 3489: 3485: 3481: 3477: 3473: 3469: 3464: 3453: 3452:Heiner Müller 3448: 3445: 3442:as Aaron and 3441: 3440:Hugh Quarshie 3437: 3433: 3429: 3428: 3423: 3418: 3416: 3412: 3408: 3403: 3398: 3393: 3391: 3390: 3385: 3381: 3377: 3373: 3372:Derek Godfrey 3369: 3365: 3364: 3358: 3356: 3352: 3348: 3344: 3343:Grand Guignol 3341:as part of a 3340: 3336: 3332: 3331:Kenneth Tynan 3326: 3321: 3319: 3318: 3313: 3312: 3307: 3306: 3301: 3297: 3293: 3278: 3274: 3272: 3268: 3264: 3260: 3255: 3251: 3249: 3245: 3240: 3235: 3232:as Titus and 3231: 3227: 3223: 3215: 3211: 3206: 3202: 3200: 3196: 3192: 3188: 3187:Aran en Titus 3184: 3179: 3177: 3173: 3169: 3168:John Greene's 3165: 3164:Robert Browne 3162:performed by 3161: 3157: 3152: 3146: 3130: 3128: 3124: 3120: 3116: 3112: 3108: 3104: 3100: 3096: 3092: 3088: 3084: 3079: 3077: 3073: 3069: 3068:Rose Reynolds 3065: 3064:Stephen Boxer 3061: 3056: 3054: 3050: 3045: 3041: 3036: 3033: 3029: 3025: 3021: 3017: 3013: 3008: 3006: 3002: 3001: 2995: 2990: 2983: 2979: 2975: 2970: 2969: 2964: 2963: 2958: 2957: 2951: 2950: 2942: 2940: 2936: 2931: 2927: 2923: 2919: 2918: 2908: 2904: 2902: 2898: 2894: 2890: 2885: 2882:as Aaron and 2881: 2877: 2876:Douglas Hodge 2874:and starring 2873: 2869: 2860: 2856: 2853: 2849: 2845: 2841: 2840:David Bradley 2838:and starring 2837: 2832: 2830: 2826: 2822: 2818: 2814: 2809: 2805: 2801: 2797: 2793: 2792:Gregory Doran 2788: 2786: 2782: 2778: 2774: 2770: 2765: 2762: 2758: 2754: 2750: 2745: 2742: 2739:as Aaron and 2738: 2734: 2730: 2726: 2721: 2718: 2713: 2709: 2705: 2701: 2700:Brian Bedford 2697: 2692: 2689: 2684: 2680: 2677:as Aaron and 2676: 2672: 2668: 2667:Colin Blakely 2664: 2659: 2657: 2653: 2652:Charles Dance 2649: 2645: 2640: 2636: 2632: 2627: 2623: 2619: 2615: 2611: 2607: 2603: 2599: 2594: 2592: 2588: 2584: 2583:Allied Forces 2580: 2579:Nazi insignia 2576: 2575:Prussian Army 2572: 2568: 2564: 2560: 2556: 2552: 2548: 2544: 2540: 2536: 2535:Douglas Seale 2530: 2527: 2523: 2519: 2518: 2513: 2510:as Aaron and 2509: 2505: 2504:Maxine Audley 2501: 2497: 2492: 2490: 2489: 2484: 2483:E. M. Woolley 2480: 2476: 2472: 2467: 2464: 2461:as Aaron and 2460: 2456: 2452: 2448: 2444: 2443:Robert Atkins 2439: 2437: 2433: 2429: 2421: 2417: 2413: 2411: 2407: 2403: 2399: 2395: 2391: 2387: 2381: 2379: 2375: 2371: 2367: 2366:Admiral's Men 2363: 2359: 2348: 2338: 2336: 2332: 2328: 2324: 2319: 2318: 2313: 2309: 2308:interlocutory 2305: 2301: 2293: 2289: 2285: 2281: 2279: 2275: 2271: 2270:Stanley Wells 2267: 2263: 2257: 2255: 2248: 2246: 2241: 2235: 2233: 2229: 2225: 2220: 2218: 2208: 2196: 2182: 2178: 2162: 2158: 2142: 2122: 2075: 2073: 2068: 2066: 2061: 2057: 2052: 2050: 2040: 2036: 2025: 2017: 2007: 2000: 1996: 1993: 1987: 1983: 1981: 1976: 1974: 1970: 1966: 1962: 1958: 1954: 1949: 1947: 1942: 1934: 1930: 1921: 1919: 1914: 1910: 1906: 1902: 1896: 1894: 1890: 1886: 1882: 1876: 1873: 1869: 1864: 1858: 1856: 1852: 1848: 1840: 1835: 1831: 1829: 1828:Robert Greene 1825: 1819: 1817: 1813: 1809: 1805: 1804:Edward Capell 1799: 1797: 1793: 1792: 1787: 1783: 1779: 1775: 1771: 1767: 1763: 1759: 1755: 1751: 1750:Edmond Malone 1747: 1743: 1739: 1735: 1731: 1730:Nicholas Rowe 1726: 1723: 1719: 1718:Henry Condell 1715: 1714:John Heminges 1711: 1710: 1705: 1704:Francis Meres 1701: 1695: 1694: 1682: 1680: 1676: 1672: 1671: 1670:New York Post 1665: 1661: 1657: 1649: 1645: 1641: 1638: 1637:Victorian age 1634: 1630: 1624: 1621: 1617: 1613: 1609: 1608: 1603: 1602: 1597: 1592: 1590: 1585: 1582: 1578: 1573: 1571: 1567: 1562: 1558: 1554: 1553: 1547: 1544: 1539: 1534: 1529: 1521: 1517: 1512: 1509: 1494: 1492: 1488: 1484: 1478: 1476: 1472: 1468: 1464: 1458: 1437: 1433: 1431: 1426: 1424: 1420: 1416: 1412: 1408: 1404: 1399: 1396: 1392: 1388: 1384: 1383:reported text 1380: 1375: 1373: 1368: 1367:James Roberts 1358: 1356: 1355:Brian Vickers 1352: 1348: 1344: 1340: 1331: 1327: 1325: 1324: 1319: 1315: 1314: 1309: 1308: 1303: 1299: 1295: 1291: 1288:has employed 1287: 1282: 1280: 1276: 1275: 1270: 1269: 1264: 1260: 1256: 1252: 1251: 1246: 1242: 1241: 1236: 1231: 1225: 1223: 1219: 1215: 1211: 1207: 1203: 1199: 1195: 1186: 1182: 1173: 1162: 1150: 1145: 1141: 1137: 1136: 1131: 1127: 1123: 1122: 1117: 1116: 1111: 1106: 1104: 1100: 1096: 1091: 1089: 1088: 1083: 1079: 1075: 1071: 1067: 1063: 1059: 1050: 1043: 1038: 1027:Date and text 1024: 1020: 1018: 1017: 1012: 1008: 1007: 1002: 1001: 996: 995: 990: 986: 985: 980: 979:Marco Mincoff 976: 975: 969: 965: 964: 957: 954: 949: 945: 941: 940:Thomas Pavier 937: 933: 929: 925: 921: 916: 914: 910: 905: 900: 898: 894: 893:prose history 890: 880: 878: 877:primogeniture 874: 870: 869: 862: 860: 856: 852: 848: 844: 840: 836: 832: 828: 824: 820: 816: 815: 810: 806: 802: 798: 793: 791: 787: 783: 779: 775: 774:Frances Yates 771: 770: 763: 761: 757: 756: 751: 747: 743: 739: 735: 730: 727: 723: 719: 715: 709: 707: 703: 699: 695: 684: 683: 678: 673: 671: 667: 662: 658: 654: 650: 646: 642: 638: 637: 632: 627: 625: 621: 617: 613: 612:Metamorphoses 608: 606: 602: 598: 594: 590: 586: 582: 578: 574: 573:Metamorphoses 563: 562: 561:Metamorphoses 554: 550: 546: 542: 540: 536: 532: 528: 527:Aulus Gellius 524: 520: 516: 512: 508: 504: 500: 499: 488: 486: 482: 478: 474: 473:Jonathan Bate 470: 466: 462: 458: 454: 450: 446: 442: 438: 434: 430: 426: 422: 418: 414: 413: 408: 407: 402: 401: 400:Julius Caesar 396: 393:The story of 381: 379: 375: 371: 367: 363: 358: 356: 352: 348: 344: 343: 338: 331: 330:Nicholas Rowe 327: 322: 318: 315: 310: 306: 304: 300: 296: 295:forged letter 291: 286: 284: 280: 276: 272: 266: 264: 260: 256: 252: 248: 244: 236: 232: 219: 215: 211: 208: 205: 202: 200: 199:Roman Captain 197: 194: 192: 189: 186: 183: 179: 176: 173: 170: 167: 165: 161: 158: 155: 152: 148: 145: 142: 138: 135: 132: 129: 126: 123: 120: 117: 114: 113: 106: 104: 100: 99:Victorian era 96: 92: 90: 86: 82: 78: 74: 72: 71:revenge plays 68: 64: 60: 59: 54: 53: 45: 44: 39: 34: 30: 26: 22: 9532:(soundtrack) 9527: 9514: 9506: 9497:Revenge play 9482:George Peele 9440: 9437:" (2001; 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W. 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