page_title: Titus Andronicus
section_title: Language
hierarchical_section_title: Titus Andronicus / Analysis and criticism / Language
caption_attribution_description: Titus Andronicus: Act IV, Scene 1: Child alarmed at his aunt Lavinia
context_page_description: Titus Andronicus is a tragedy by William Shakespeare, believed to have been written between 1588 and 1593, probably in collaboration with George Peele. It is thought to be Shakespeare's first tragedy and is often seen as his attempt to emulate the violent and bloody revenge plays of his contemporaries, which were extremely popular with audiences throughout the 16th century.
  The play is set during the latter days of the Roman Empire and tells the fictional story of Titus, a general in the Roman army, who is engaged in a cycle of revenge with Tamora, Queen of the Goths. It is Shakespeare's bloodiest and most violent work. It has traditionally been one of his least respected plays. Though extremely popular in its day, it had fallen out of favor by the later 17th century. The Victorian era disapproved of it largely because of what was regarded as its distasteful graphic violence. However, beginning around the middle of the 20th century, its reputation began to improve.
context_section_description: The language of Titus 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 play is more linguistically complex than is often thought, and features a more accomplished use of certain linguistic motifs than has hitherto been allowed for.
  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 themes. Perhaps the most obvious recurring motifs are those of honour, virtue and nobility, 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 patricians, 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 justice, 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."
  When Marcus announces Titus' imminent arrival, he emphasises Titus' renowned honour and integrity; "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."
  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 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).
  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 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 traitorous 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 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
caption: Thomas Kirk illustration of Young Lucius fleeing from Lavinia in Act 4, Scene 1; engraved by B. Reading (1799)
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