Shakespeare’s revenge tragedy Titus Andronicus is his most gruesome play. It has been harshly criticized for its exaggerated cruelty and was certainly not among his most popular works. However, the play aroused a somewhat greater interest within the field of gender studies and the feminist approach to literature. The simplified, objectified and polarized depiction of the female characters virtually stares the gender-conscious reader in the face; this is an open invitation for closer inspection. Though the virgin-whore dichotomy was quite common in Elizabethan literature, it is carried to extremes in Titus Andronicus. In the following the construction of femininity and the female characters in the play, Lavinia and Tamora, will be analyzed against the background of the perception of femininity in Shakespeare’s time.
Table of Contents
1. Introduction
2. Women in the Elizabethan Age
3. The construction of femininity
3.1 Lavinia
3.2 Tamora
4. Conclusion
Research Objectives and Core Themes
The primary objective of this work is to analyze the construction of femininity and the depiction of female characters within William Shakespeare's revenge tragedy "Titus Andronicus," examining how these portrayals reflect the social, patriarchal, and misogynist structures of the Elizabethan era.
- Historical context of women in the Elizabethan Age and their societal limitations.
- Theoretical exploration of femininity as a discursive and socio-cultural construct.
- Analysis of Lavinia as the embodiment of passive, virtuous, and victimized femininity.
- Analysis of Tamora as the antithetical figure of the powerful, independent, and dangerous woman.
- Investigation into male-dominated discourse and the "virgin-whore" dichotomy in Elizabethan drama.
Excerpt from the Book
3.1 Lavinia
Lavinia is the only daughter of Titus Andronicus, a Roman general who devoted himself to defending Rome and fighting the hostile Goths. The rest of the family is, at least as far as the reader gets to know, all male. Lavinia has 26 brothers, 21 of whom died on the battlefield; Titus himself and his brother Marcus apparently do not have wives and neither does Lucius though he has a young son to take care of. Lavinia is defined as the good and marriageable daughter, humble and chaste.
Lavinia corresponds to the role model of a good woman as it was expected by men in the English Renaissance. She is humble and obedient; her first action on stage, kneeling down in front of her father and praising him, is defining her as the good and virtuous daughter. She adores her father and acts according to his expectations. She does not even contradict when her father wants to hand her over to Saturninus for marriage although she is already engaged to Bassianus. When Bassianus raises an objection and claims his prior right of possessing Lavinia, who “in justice seizeth but his own”, Lavinia neither contradicts nor consents. She does not seem to have her own will, at least she does not articulate it. She merely submits to the men’s wishes. It is the men who fight out who is going to marry her; Saturninus and Titus on the one side, Bassianus and Lavinia’s brothers on the other. Her opinion is not asked for and thus she keeps quiet.
Summary of Chapters
1. Introduction: Presents the research focus on the gender-specific portrayal of characters in "Titus Andronicus" against the backdrop of feminist literary criticism.
2. Women in the Elizabethan Age: Discusses the historical and patriarchal context where women were deemed inferior and dependent on male protection.
3. The construction of femininity: Explores the discursive nature of the female gender role in the early modern period.
3.1 Lavinia: Analyzes the character of Lavinia as a silent, obedient victim whose identity is entirely determined by her male relatives.
3.2 Tamora: Examines Tamora as an antithetical figure who embodies independence and power, representing male anxieties about female autonomy.
4. Conclusion: Summarizes how the play reflects and reinforces the era's conflicting fears and expectations regarding women.
Keywords
Titus Andronicus, Shakespeare, Femininity, Elizabethan Age, Patriarchy, Lavinia, Tamora, Gender Studies, Virgin-Whore Dichotomy, Power Relations, Discursive Construct, Female Independence, Misogyny, Silence, Revenge Tragedy
Frequently Asked Questions
What is the core subject of this paper?
The paper examines how female characters are constructed within Shakespeare's "Titus Andronicus" to reflect the gendered power dynamics and social anxieties of the Elizabethan era.
What are the primary themes discussed?
Key themes include patriarchal control, the "virgin-whore" dichotomy, the discursive construction of femininity, female silence versus agency, and the use of rape as a tool for asserting male power.
What is the central research question?
The research explores how the depiction of women in the play serves as a projection surface for male fears regarding female independence and how these characters are defined by their relation to men.
Which scientific methods are applied?
The study utilizes a feminist approach to literature and cultural history, analyzing the play through the lens of early modern social structures and gender theory.
What is covered in the main body of the text?
The main body contrasts the characters of Lavinia and Tamora, situating them within the societal expectations of Elizabethan women and analyzing their roles as either obedient victims or powerful, threatening figures.
Which keywords best describe this research?
Essential keywords include Shakespeare, Titus Andronicus, Femininity, Patriarchy, Elizabethan Age, Gender Studies, and Discursive Construct.
How does the author characterize Lavinia's role in the play?
Lavinia is described as the embodiment of the passive, virtuous daughter who is defined entirely by her utility to her father and husband, ultimately becoming a victim of patriarchal power struggles.
In what way is Tamora presented as a challenge to the patriarchal order?
Tamora is portrayed as an independent, sexually active, and powerful leader who refuses to adhere to the traditional virtues of silence and obedience, thereby triggering male anxieties and societal backlash.
- Quote paper
- Sofie Sonnenstatter (Author), 2008, The Construction of Femininity in Shakespeare's "Titus Andronicus", Munich, GRIN Verlag, https://www.grin.com/document/142752
