This is an edited version of an essay originally
written for ‘ENGL394 – Popular Theatre: Polemic, Mirror, Satire’ at Macquarie University
T’will vex thy soul to hear what I shall speak;
For I must talk of murders, rapes and massacres,
Acts of black night, abominable deeds…
For I must talk of murders, rapes and massacres,
Acts of black night, abominable deeds…
Aaron, V.1.62-64
Titus
Andronicus has been maligned
and derided for its excessive depiction of, and reliance upon, violence and
brutality since its writing and performance in 1594. Despite Shakespeare’s age
at the time of writing Titus Andronicus,[i]
the play displays a markedly youthful brashness and sensationalistic attitude
which highlights his knowledge of classical authors and sources, as well as a
desire to create a work which appealed to a wide audience[ii].
Throughout the play Shakespeare harnesses the conventions of a revenge tragedy
to his now-trademark sophistication of language, humour and rhythm, and
challenges the established perception and tolerance of violence and abuse, as
well as its implications and consequences. In doing so, Shakespeare shows how Titus Andronicus is “as much about how
the audience experiences violence as entertainment as it is about the tragedy
of the endless cycle of violence itself,”[iii]
and thus demonstrates how popular theatre avoids adhering to the status quo of
the period and, in this case, for all time.
