by Isaac Asimov
Apparently, what Shakespeare was doing was experimenting with Sene-can tragedy (see page I-270). These blood-and-thunder plays written about horrible crimes and horrible revenges were immensely popular in Elizabethan tunes. Thomas Kyd, for instance, had written such a drama, The Spanish Tragedy, shortly before Shakespeare had begun his dramatic career, and had scored an immense success.
Shakespeare had no objection to success and was perfectly willing to adjust himself to popular taste. In Titus Andronicus he therefore gave full vent to blood, cruelty, disaster, and revenge. Indeed, he went so far that one can almost wonder if he weren't deliberately pushing matters to the limit in order to express his disgust of the whole genre.
… the imperial diadem of Rome
The play opens in Rome, with the Romans in the process of selecting a new Emperor.
The two candidates for the throne are the two sons of the old Emperor; Saturninus, the older, and Bassianus, the younger. Both are clamoring for acceptance by the people. Saturninus stresses the fact that he is the elder:
/ am his first-born son that was the last
That ware the imperial diadem of Rome;
Then let my father's honors live in me.
—Act I, scene i, lines 5-7
The younger son, with a lesser claim, is forced to be more emotional. He begins:
// ever Bassianus, Caesar's son,
Were gracious in the eyes of royal Rome,
—Act I, scene i, lines 10-11
Who the Emperor was who was "the last that ware the imperial diadem of Rome" is never stated.
To be sure, Bassianus calls himself "Caesar's son," but this is not a reference to Julius Caesar (see page I-253) or Octavius Caesar (see page I-292). All Roman emperors were called "Caesar," for that was one of the royal titles (see page I-390).
In fact, the identity of the just-dead Roman Emperor couldn't possibly be determined, for the entire play is a weird amalgamation of different periods of Roman history. There is a panoply of senators, tribunes, and common Romans on stage, as though it were of the stern period of the Roman Republic, as in Coriolanus. On the other hand, we have emperors, of a later period, and barbarian invaders of a still later period.
The names of the sons have some points of interest. The only important Saturninus in real Roman history was a radical politician who was killed about 100 b.c. in the years when the Roman Republic began the public disorders that were eventually to kill it. As for Bassianus, the name of the younger son, that is to be found among the names of three of the emperors of the dynasty of Septimius Severus, who ruled in the early third century.
The elder son of Septimius Severus was Bassianus. He succeeded on his father's death in 211. Bassianus did not rule under that name but was universally called "Caracalla," a nickname derived from the long cloak (caracalla) he habitually wore.
Bassianus had a younger brother, Geta, who was supposed to have inherited the emperorship along with him. The two brothers were deadly enemies, however, and by 212 Bassianus had killed Geta under particularly cruel circumstances.
Thus, the competition between Saturninus and Bassianus in the play seems to reflect, faintly, the competition between Bassianus and Geta in history.
In one respect, in fact, the time of Caracalla might be thought to be the latest period in which the play could be set, for it treats of a thoroughly pagan Rome. There is no sign of Christianity in the play, yet after Cara-calla's time, the growth of Christianity would have made the new religion impossible to ignore.
There are, however, other aspects of the play that make the time of Caracalla far too early.
As it happens, there is in existence a tale called The Tragical History of Titus Andronicus, of which the only known copy was published about a century and a half after Shakespeare's play was written. That copy may, however, be a reprint and the original may have appeared early enough to serve as Shakespeare's source.
In the booklet the time is set in the reign of Theodosius, by whom is probably meant the most famous Emperor of that name, Theodosius I. He ruled from 379 to 395, nearly two centuries after Caracalla.
When Theodosius died, he left behind two sons, but these, unlike the sons of Septimius Severus (or those in the play), did not compete for the throne. They inherited the co-emperorship in peace, with the elder, Arcadius, ruling the Eastern half from Constantinople, and the younger, Honorius, ruling the Western half from Rome.
To be sure, by the time Theodosius was Emperor, Rome was thoroughly Christian and Theodosius himself was particularly pious in this respect, so that the paganism of the play would then become an anachronism. (On the other hand, considering the horrible events that take place in it, the existence of Christianity would be embarrassing.)
… surnamed Pius
It turns out that there are factions in Rome who want neither son of the old Emperor, but who turn instead to a valiant general. The announcement is made by Marcus Andronicus the tribune, who happens to be a brother of that general. He says:
Know that the people of Rome, for whom we stand
A special party, have by common voice,
Chosen Andronicus, surnamed Pius
For many good and great deserts to Rome.
—Act I, scene i, lines 20-23
Andronicus is the Titus Andronicus of the tide. The surname of "Pius" was sometimes used in Roman history to indicate a man who was devout and who honored his parents and his gods. The most famous case of such a usage is that of Emperor Antoninus Pius, who reigned from 138 to 161 and whose reign saw the Roman Empire at its most peaceful.
… the barbarous Goths
The special claim of Titus Andronicus to the gratitude of Rome lay in the wars he had been fighting. Marcus says:
He by the senate is accited home
From weary wars against the barbarous Goths.
—Act I, scene i, lines 27-28
Furthermore, the war has been going on a long time, as Marcus further explains:
Ten years are spent since first he undertook
This cause of Rome, and chastised with arms
Our enemies' pride:
—Act I, scene i, lines 31-33
The Goths were a group of Germanic tribes who began raiding the Roman Empire about the middle of the third century, not long after the time of Caracalla. They were badly defeated in 269 by the Roman Emperor Claudius II, who called himself Claudius Gothicus in consequence, but who died the year after.
The Gothic menace lightened for a century thereafter. In 375, however, a group of these Goths (of tribes known as Visigoths) were driven into the Roman Empire by the Huns. Within the border of the Empire, they defeated the Romans in a great battle at Adrianople in 378. Theodosius, whom we have mentioned earlier, then ascended the Roman throne and managed to contain the Gothic menace by diplomacy and judicious bribery, rather than by military victories.
After Theodosius' death, the Visigoths raided Italy and took Rome itself in 410. They were not defeated at this tune but wandered out of Italy of their own accord and finally set up a kingdom in southern France that eventually expanded into and over all Spam. In 489 another branch of the Gothic nation, the Ostrogoths, invaded Italy and set up a kingdom there.
Up to this point, there isn't much hope of finding any Roman that can serve as an inspiration for Titus Andronicus. Nowhere is there a general who fought long wars against the Goths and won. We must look still later in time.
In the prose story The Tragical History of Titus Andronicus, the Goths are said to have invaded Italy under their king "Tottilius."
Actually there was a king of the Ostrogoths, of nearly that name, who fought in Italy. He was Totila, who ruled from 541 to 552.
Here is what happened. Although the Germanic tribes had settled the Western provinces of the Roman Empire, the Eastern provinces remained intact and were ruled from Constantinople. In 527 Justinian became Roman Emperor in Constantinople and was determined to reconquer the West. In 535 he sent his great general, Belisarius, to I
taly, and with that began a twenty-year (not a mere ten-year) war of Roman and Goth, in which the Romans were eventually victorious.
Belisarius won initial victories, but the Goths rallied when Totila became king. Belisarius was recalled and replaced with another general, Narses (a eunuch, the only one of importance in military history), who finally defeated Totila in 552 and completed the conquest of Italy in 556. In the Tragical History Titus Andronicus was a governor of Greece and came from Greece to rescue Italy, and that fits too.
Again, the name "Andronicus" is best known in history as that of several emperors who ruled in Constantinople, so that the very name of Titus Andronicus focuses our attention on the Eastern part of the Roman Empire. Finally, both Belisarius and Narses were ill requited by ungrateful emperors, and the tale of Titus Andronicus tells how the general of the title is ill requited by an ungrateful Emperor.
We can suppose then that Titus Andronicus was inspired by the events of the tune of Belisarius and Narses, but none of the events in the play actually match the events in history.
Half of the number.. .
The two royal brothers retire before the awesome name of the victorious general.
In comes Titus Andronicus with a coffin and draws sad attention to his family's sufferings in the wars:
… of five and twenty valiant sons,
Half of the number that King Priam had,
Behold the poor remains, alive and dead!
—Act I, scene i, lines 79-81
Priam is, of course, the King of Troy (see page I-79) whom legend credited with fifty sons. Of Titus' twenty-five sons, no less than twenty have died in the course of the ten-year war with the Goths. The twenty-first is brought back dead in his coffin from the latest battle, while the last four living sons attend it sorrowfully.
Also with them are Tamora, the captured Queen of the Goths, and her three sons.
… the dreadful shore of Styx
Andronicus' first care is to bury the dead son with due pagan rites. He reproaches himself for being so slow to do it:
Titus, unkind and careless of thine own,
Why suffer'st thou thy sons, unburied yet,
To hover on the dreadful shore of Styx?
—Act I, scene i, lines 86-88
The Styx is the river that marks the boundary of Hades. The shades of dead men cannot cross that river till they have been buried with the proper ritual, and must till then hover disconsolately on its shore.
… Scythia…
Andronicus' sons demand that a human sacrifice be dedicated on the occasion of the funeral of their dead brother so that his soul may rest in peace. (An example of why the play cannot be placed in a Christian setting.)
Titus Andronicus orders Alarbus, the oldest son of Tamora, Queen of the Goths, to be so sacrificed. Tamora pleads against it in a speech that can't help but appeal to us, but the stern Titus insists, not out of cruelty but out of what he conceives to be religious devotion.
Chiron, Tamora's youngest son, cries out:
Was never Scythia half so barbarous.
—Act I, scene i, line 131
When Greece was at its height, the Scythians were a nomadic people who lived on the plains north of the Black Sea. The Greeks knew little about them, but knew the area they inhabited to be tremendous and their numbers large. They were for some reason considered the epitome of bar-barousness by the Greeks, and their name, so maligned, has been used in that fashion ever since.
… the Thracian tyrant.. .
Tamora's remaining son, Demetrius, sounds a darker note:
The selfsame gods that armed the Queen of Troy
With opportunity of sharp revenge
Upon the Thracian tyrant in his tent
May favor Tamora, the Queen of Goths,
—Act I, scene i, lines 136-39
The Trojan Queen is Hecuba (see page I-85), who had sent her youngest son, Polydorus, for safekeeping to the court of the Thracian king, Polymnestor. After the fall of Troy, when all of Hecuba's other children were killed (save Helenus), Polymnestor was persuaded by the Greeks to kill Polydorus too.
Hecuba discovered this and persuaded Polymnestor to visit destroyed Troy by promising to reveal to him a treasure in its ruins. He came to Troy with his two sons and, according to the tale, Hecuba in a fit of despairing fury managed to stab his two sons to death and tear out Polymnestor's eyes.
Nevertheless, the sacrifice takes place and Lucius, the oldest of Titus' remaining sons, announces the result in triumphant goriness:
Alarbus' limbs are lopped,
And entrails feed the sacrificing fires,
—Act I, scene i, lines 143-44
With that, the tale of double revenge begins-first Tamora's and then Titus'. And Demetrius' allusion to Hecuba indicates the crude and brutal bloodiness of what is ahead.
… to Solan's happiness
Titus' twenty-first son is thus buried and his brother, Marcus, points out (prophetically) that it is safer to be dead:
… safer triumph is this funeral pomp,
That hath aspired to Salon's happiness.
—Act I, scene i, lines 176-77
This refers to the tale (probably apocryphal) of the visit of the great Athenian lawgiver, Solon, to the Asia Minor kingdom of Lydia. The rich king of Lydia, Croesus, displayed his treasures to Solon and then asked the Greek if this was not happiness indeed. Solon replied, sternly, "Call no man happy till he is dead." In other words, while there is life there is the possibility of disaster.
Of course, the disasters come. Croesus is defeated by Cyrus the Persian, his country is taken away, his throne is lost, and he himself is placed at the stake to be burned to death. Then he remembers Solon's remark and calls out the Athenian's name. The curious Cyrus asks the details and, on hearing the story, spares Croesus' life.
… the sacred Pantheon.. .
The throne is offered Titus Andronicus, who refuses it on the ground that he is too old. The sons of the old Emperor now show signs of breaking into rivalry again, but Andronicus ends it by speaking for Saturninus, the elder. He calls him:
Lord Saturnine; whose virtues will, I hope,
Reflect on Rome as Titan's rays on Earth,
—Act I, scene i, lines 225-26
Titan is, of course, one of the names for the sun (see page I-11). Saturninus is promptly crowned and as promptly shows his gratitude:
Titus, to advance Thy name and honorable family,
Lavinia will I make my empress.
Rome's royal mistress, mistress of my heart,
And in the sacred Pantheon her espouse.
—Act I, scene i, lines 238-42
Lavinia is Titus' daughter, noble and virtuous. Her name recalls a Lavinia of Roman legend, the daughter of Latinus, who was king of that region in Italy where Rome was later to be founded. The Trojan hero Aeneas, coming to Italy from fallen Troy (see page I-20), married Lavinia and founded the city of Lavinium, named in her honor. Lavinium was the parent city of Alba Longa and that, in turn, was the parent city of Rome.
A pantheon ("all gods") is any building dedicated to the gods generally. The Pantheon is in Rome, a structure first built under the sponsorship of Agrippa (see page I-340), the general and son-in-law of Octavius Caesar, in 27 b.c. It was rebuilt in its present form about a.d. 120 by the Emperor Hadrian. It is the one Roman building that remains in perfect preservation and it is still a place of worship, having been consecrated a Christian church in 609. In the time of Belisarius, then, it was in its last century as a pagan temple (though by that time there were virtually no pagans left in Italy).
… the stately Phoebe. ..
All seems well and then, with the suddenness of a summer thunderstorm, everything falls apart.
Bassianus, the new Emperor's younger brother, sets up a cry that Lavinia is his and begins to carry her away. Lavinia's four brothers are on Bassianus' side in this-apparently there is a recognized betrothal here, although no hint of that was given earlier-and so is Lavinia
's uncle, Marcus.
Only Titus Andronicus stands out against them in rigid observance of his honor, for he has formally given Lavinia to Saturninus.
Titus dashes after his sons and kills Mutius, one of them. This is the twenty-second son of Titus to die.
Saturninus, however, orders Andronicus to make no further attempt to get Lavinia back. He has suddenly fallen in love with Tamora anyway and prefers to have the Gothic Queen as his wife. He describes her as:
… lovely Tamora, Queen of Goths,
That like the stately Phoebe 'mongst her nymphs
Dost overshine the gallant'st dames of Rome,
—Act I, scene i, lines 316-18
This comparison to Phoebe (see page I-12), goddess of the moon (with alternate names like Selene, Diana, and Artemis), seems odd. Tamora is no young maid who might aptly be compared to the virginal goddess, but is the widowed mother of three grown sons.
Nevertheless, Saturninus prepares to marry her at once:
Sith priest and holy water are so near,
And tapers burn so bright and everything
In readiness for Hymenaeus stand,
—Act I, scene i, lines 324-26
Hymenaeus is a longer form of Hymen, god of marriage (see page I-55).
… wise Laertes' son