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4). Even the members of Titus' family who do not go mad, particularly Lucius, resolve to take a double role. Just as Tamora assumed a persona of compliance with the Romans, so does Lucius. Lucius enacts a kind of 'doubling' of Tamora, for as Tamora went to the Romans, Lucius decides to go to the Goths. National alliances mean nothing now for the avenging Andronicii, both father and sons:
But now nor Lucius nor Lavinia lives
But in oblivion and hateful griefs.
If Lucius live, he will requite your wrongs;
And make proud Saturnine and his empress
Beg at the gates, like Tarquin and his queen.
Now will I to the Goths, and raise a power,
To be revenged on Rome and Saturnine" (III.1).
To be an avenger is thus to be like an actor, to play a part. But just like the avenger is an assumed role, so was…
Helms, Lorraine. "The High Roman Fashion': Sacrifice, Suicide, and the Shakespearean
Stage." PMLA. Vol. 107. No. 3. Special Topic: Performance. May, 1992. pp.
Sacks, Peter. "Where Words Prevail Not: Grief, Revenge, and Language in Kyd and Shakespeare." ELH. Vol. 49. No. 3. Autumn, 1982. pp. 576-601.
Shakespeare, William. "Titus Andronicus." Shakespeare Homepage. MIT. 21 Mar 2008 http://shakespeare.mit.edu/titus/titus.1.1.html
Children That Pay for Family Duty in Hamlet and Titus Andronicus
External Forces Explored in Hamlet and Titus Andronicus
Children often become casualties when they find themselves pulled into two different directions when it comes to family. Often faced with the responsibility of upholding honor in the name of family, they face challenging conflicts that hurt them. Two plays demonstrating this contradiction are Hamlet and Titus Andronicus by illiam Shakespeare. The perils associated with following one's duty to family can be deadly. Both of these plays illustrate how children "pay" for family duty.
In Hamlet, Hamlet's duty is to defend Denmark is interrupted by an incessant ghost. After grieving his father's death, the ghost tells Hamlet to seek retribution on his father's "foul and most unnatural murder" (Shakespeare Hamlet I.v.1). This conflict trumps any duty from this moment forward, becoming a proverbial albatross around Hamlet's neck. The ghost and his…
Shakespeare, William. Titus Andronicus. The Norton Shakespeare. Ed. Stephen Greenblatt, et al. 2nd ed. New York: Norton, 2008. Print.
hen we look at Titus, we see someone for which we cannot sympathize because his devotion to Rome is bordering on zealous. This is not to mention that Rome is, at the time, a corrupt power.
The most interesting fact regarding these three plays their protagonists is the fact that Shakespeare does not do anything or allow anything to occur that would make us want to sympathize with Titus. Shakespeare is just as happy letting this man die with the rest of the players with little or no comment. In a sense, he is close to Iago in tone and manner. These differences only emphasize Shakespeare's ability to capture the essence of the human being in his work. His characters are more than merely characters in a play, they are fully developed people in whom we can see ourselves; they are alive and that is why we keep coming back…
Berthoud, Jacques. "Titus Andronicus. Introduction to Titus Andronicus." 2001. GALE Resource Database. Information Retrieved November 03, 2008. www.infotrac.galegroup.com
Bloom, Harold. Shakespeare: Inventing the Human. New York: Riverhead Books. 1998.
Margaret, Webster. Shakespeare Without Tears. Fawcett World Books. 1957.
A.C. Hamilton. "Titus Andronicus: The Form of Shakespearian Tragedy." Shakespeare Quarterly. 1963. JSTOR Resource Database. Information Retrieved November 03, 2008. http://www.jstor.org/
This final dinner scene and the ensuing bloodbath wrings ever last possible ounce of gory drama out of the script; the talking ceases for a time while the camera observes the members of the dinner party all enjoying the pies that contain the blood and bones (and possibly the meat, although this isn't made explicit in either the script or the film) of Tamora's two sons. This makes the extremity of this cannibalistic act far more heightened than the script alone suggests, but it is exactly what the script requires. The perfection of the setup, and the well-coiffed appearance of everyone in attendance, makes the horror of the act and of the play that much more intense.
This scene, as well as others in both the script and the film, calls Titus' sanity into serious question. Neither source makes it clear whether or not he is crazy, and again this…
Evans, G. Blakemore and M. Tobin, eds. The Riverside Shakespeare. New York: Houghton Mifflin, 2003.
Shakespeare, William. Titus Andronicus. In the Riverside Shakespeare.
MOVING TOWARDS DISASTER:
THE MOTIF OF REVENGE IN SHAKESPEARE'S
Titus Andronicus, the first tragedy written by William Shakespeare ca. 1590, is one of his most ambitious plays, full of recognizable themes and motifs which were later incorporated in his more mature works. Yet Titus Andronicus differs greatly from its successors, mainly due to the overt application of revenge perpetrated by its numerous and dangerous characters. As Eugene M. Wraith sees it, Titus Andronicus as a tragedy swiftly moves "towards a disaster for which the cause is established in the first minutes of action" (8).
Shakespeare accomplishes this movement towards disaster through the idiosyncrasies, actions and reactions of many characters bent on revenge via a long list of reasons. For instance, when Titus Andronicus, known for his victories over the barbarian Goths and candidate for the emperor of Rome, decides to sacrifice Alarbus, Tamora's eldest son, to appease…
Muir, Kenneth. The Sources of Shakespeare's Plays. New Haven: Yale University Press,
Waith, Eugene M., ed. Titus Andronicus. London: Oxford University Press, 1984.
he's gone forever! / I know when one is dead, and when one lives; / he's dead as earth." (King Lear V.iii.256-260)
Titus Andronicus is the central figure and tragic hero of the homonymous play by William hakespeare. He is a General of Rome and father to Lavinia and Lucius. He is a brave solider of Rome who has spent the last ten years of his life fighting Rome's enemies. Although very successful and praised for his heroic acts, Titus Andronicus now feels incapable of assuming the role his country had envisioned for him. Moreover, despite the fact that in the beginning he is seen as a model of piety, and praised for his adherence to tradition and custom, it is precisely this inflexibility - "For now I stand as one upon a rock / Environed with a wilderness of sea, / Who marks the waxing tide grow wave by…
Shakespeare, William. King Lear. Literature Center. http://www.online-literature.com/shakespeare/kinglear/
Shakespeare, William. Macbeth. The Oxford Shakespeare. Internet. http://www.bartelby.com/70/index41.html
Shakespeare, William. Titus Andronicus. Literature Center. http://www.online-literature.com/shakespeare/titusandronicus/3/
"Oh, brave new world indeed," she concludes (11).
Improving Online Education Programs
The growth of "distance education" offerings, also called online education, has been dramatic over the past few years. "Online education has experienced tremendous growth" as colleges and universities -- and private companies that offer training services -- convert "face-to-face classes to online courses" (Revere, et al., 2011, p. 114). riting in the Quarterly Review of Distance Education, the authors review the advantages of learning online, especially for adults and for students employed full time that cannot attend classes. Also, the authors note that online courses can be boring and even tedious when existing eb-based technologies are not put to use (Revere, 117).
"Because communication within online text-based systems does not always flow as naturally as in face-to-face settings," there is a need to embrace technologies to make the class work more interesting and vital (Revere, 120). The authors…
Aragon, Janni. (2007). Technologies and Pedagogy: How YouTubing, Social Networking, and Other Web Sources complement the Classroom. Feminist Collections, 28(4), 45.
Chmielewski, Dawn C. (2012). YouTube's Robert Kyncl charts Internet video's meteoric rise.
Los Angeles Times Business. Retrieved January 12, 2012, from http://latimesblogs.latimes.com .
Farnan, Jeanne M., Paro, John A.M., Higa, Jennifer, Edelson, Jay, and Arora, Vineet M.
"Sonnet 130" by Shakespeare and "Sonnet 23" by Louis Labe both talk about love, as so many sonnets do. Their respective techniques however, differentiate them from each other. Shakespeare uses a rhyme scheme that became known as Shakespearean rhyme scheme or English rhyme. He writes about love in a sarcastic manner though. He is mocking the traditional love poems and the usual expressive manner in which women are often compared to. It is ironic in a way because Shakespeare himself also uses the very techniques in his previous writing when he is writing from a man's point-of-view and describing a woman. But in this sonnet he uses the technique of mocking this exaggerated comparison. Usually women are compared to having skin as white as snow, however, in reality, Shakespeare points out, women don't really fit this description, "If snow be white, why then her breasts are dun."
William Shakespeare and Robert Burns are both iconic figures in the UK. Also known as the Bard of Avon, Shakespeare is often regarded as England’s national poet. Shakespeare is also considered the world’s greatest English writer and dramatist. During his time, Shakespeare authored tens of plays, over a hundred sonnets, and several narrative poems and verses (Marche, 2012). Shakespeare’s work has been translated into virtually all major languages of the world. Also, his work is performed more regularly than any other work. Robert Burns, born close to one and a half centuries after the death of Shakespeare, was also a prominent poet. Similar to Shakespeare, Burns is regarded as Scotland’s national poet (Hogg, 2008). Referred to as the Bard of Ayrshire, Burns is also recognised worldwide for his work (Cairney, 2000). As poets and playwrights, both Shakespeare and Burns have substantially influenced English literature and language as well as…
Tzu argues that strategy is important in that a successful general or leader can and will adapt to changing conditions on the battlefield, and that the art of war is more about adaptability and the risks and opportunities that come with the constant and dynamic nature of warfare than it is about careful planning and preparation. This is not to say that the latter two actions are useless, by Tzu sees more value in flexibility and cunning than he does in immobility and inflexibility.
Both works illustrate how personal and social justice differ from each other. They also point out that personal order is often a concept that lacks true definition, at least as time goes by. A successful person, whether in war or in their family life, learns to adapt to changing situations and scenarios, putting aside social order and justice in favor of a much more relevant, functional…
Sophecles. (458 BC). Electra.
Tzu, Sun. (5th century BC). The Art of War.