By Alexander Leggatt
ISBN-10: 0511113528
ISBN-13: 9780511113529
ISBN-10: 0521846242
ISBN-13: 9780521846240
Starting with the rape of Lavinia in Titus Andronicus, this booklet strains the associated topics of violation and identification via seven Shakespearean tragedies. The surprise results of Lavinia's rape reverberate all through Shakespeare's later tragedies. This targeted examine of Titus Andronicus, Romeo and Juliet, Hamlet, Troilus and Cressida, Othello, King Lear and Macbeth unearths the best way acts of violence evoke questions about the identities of the sufferers, perpetrators, and the acts themselves. Written in a transparent, obtainable variety, it highlights the humanistic facets of Shakespearean tragedy.
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Extra info for Shakespeare's Tragedies: Violation and Identity
Sample text
In thy dumb action will I be as perfect As begging hermits in their holy prayers. Thou shalt not sigh, nor hold thy stumps to heaven, Nor wink, nor nod, nor kneel, nor make a sign, But I of these will wrest an alphabet And by still practice learn to know thy meaning. 35–45) Having in the previous scene told Marcus simply to “mark,” he now tells him to listen: he can reproduce Lavinia’s voice. But of course it is his own voice, and once again the speech he attributes to her is impossibly detailed.
The day Romeo marries Juliet is the day he kills Tybalt; the act of violence comes between the ceremony and the consummation. 5 In the next words we hear, Benvolio sets the atmosphere of the fatal street scene: I pray thee, good Mercutio, let’s retire; The day is hot, the Capels are abroad, And if we meet we shall not ’scape a brawl, For now these hot days is the mad blood stirring. 6 ROMEO’S NAME Yet love and the feud are still at odds, in that Romeo’s killing of Tybalt is a betrayal of Juliet.
When Lavinia appeals to her as woman to woman she gets nowhere. 29 Each presents a problem for Rome, and while Lavinia is absorbed into her father’s story and enclosed in the family tomb and Tamora (like Marlowe’s Barabas) is cast over the walls, the common factor is that neither can live as herself in Rome, which can accept neither sexual disgrace nor sexual desire in a woman. This may be why the pit in the woods, read as an image of female sexuality – Tamora’s no less than Lavinia’s – registers not just as a site of damage but as a place of horror.