Act 5, Scene 2 — Titus Andronicus

The argument Tamora arrives at Titus's house disguised as Revenge, with Chiron and Demetrius as her ministers Rapine and Murder. She calls up to Titus: she is Revenge come to help him destroy his enemies. Titus, from above, says he knows her — she is Tamora. She denies it. He plays along: he knows them as Rape and Murder, but he has 'mad, mistaking eyes.' She tells him to send for Lucius, come to a banquet — she'll deliver all his enemies to him. He agrees, sends Marcus to fetch Lucius, then demands Chiron and Demetrius stay with him. Tamora consents and leaves. Titus reveals to the audience that he knew them all along. He calls Publius, Caius, and Valentine to seize Chiron and Demetrius. He binds and gags them, tells them they will be baked in a pie for their mother, and cuts their throats. Lavinia holds the basin.

Enter Tamora and her two sons, disguised.

TAMORA ≋ verse [tamora resolved, preparing her strategy]

Thus, in this strange and sad habiliment,

I will encounter with Andronicus,

And say I am Revenge, sent from below

To join with him and right his heinous wrongs.

Knock at his study, where they say he keeps

To ruminate strange plots of dire revenge;

Tell him Revenge is come to join with him

And work confusion on his enemies.

In this strange and sorrowful disguise, I will approach Andronicus and tell him I am Revenge, sent from the underworld to help him right his terrible wrongs. I'll knock at his study where he stays plotting strange revenge; I'll tell him Revenge has come to join with him and bring destruction to his enemies.

I'll put on this weird, sad outfit and go meet Andronicus. I'll tell him I'm Revenge, sent from hell to help him get back at his enemies for their terrible crimes. I'll knock on his study door—the place where he sits dreaming up revenge plots—and tell him Revenge has shown up to work with him and destroy his enemies.

i'm coming to you in this weird outfit telling you i'm revenge from hell knocking on your study door we're gonna destroy your enemies together

"" Costume, garb, outfit — usually theatrical or ceremonial clothing. Tamora's disguise is essentially theatrical: allegorical costumes.

Why it matters Tamora is performing a masque — a theatrical form in which characters dress as personifications. She is trying to speak Titus's language (he has been shooting letters to the gods, talking to abstractions). The irony is that Titus has been performing madness; now both parties are performing.

[_They knock._]

TAMORA [tamora pausing before her performance]

Titus above opens his study door.

Titus appears above and opens his study door.

Titus comes out from his study upstairs.

titus opens door above.

TITUS ≋ verse [titus suspicious]

Who doth molest my contemplation?

Is it your trick to make me ope the door,

That so my sad decrees may fly away

And all my study be to no effect?

You are deceived; for what I mean to do

See here in bloody lines I have set down;

And what is written shall be executed.

Who is disturbing my thinking? Is it your trick to make me open the door so that all my careful plans fall apart and my study comes to nothing? You're wrong - what I plan to do, look, I've written down in blood-stained lines. And whatever is written shall be carried out.

Who's interrupting me? Is this some trick to get me to open that door and ruin all my plans? Wrong. Look, I've written down everything I'm going to do, and I've written it in blood. Whatever I've written is going to happen.

whos interrupting tryna get me to open the door ruin my plans wrong i wrote it all down in blood whatever i wrote will happen

Why it matters Titus's opening line from above establishes his position: already committed, suspicious, not to be deflected. He is in control of himself in a way he hasn't been since Act 1.

TAMORA [tamora beginning her performance]

Titus, I am come to talk with thee.

Titus, I've come to speak with you.

Titus, I'm here to talk.

titus. let's talk.

TITUS ≋ verse [titus refusing]

No, not a word; how can I grace my talk,

Wanting a hand to give it action?

Thou hast the odds of me; therefore no more.

No—not a word. How can I speak gracefully without a hand to gesture with? You have the advantage over me, so no more conversation.

No. How can I talk without a hand to make my words proper? You're better off than me. Nothing more to say.

no. i have no hand. for grace. no more talk.

Why it matters Titus's first response to the knock is to mention his missing hand. The wound is always present. But here it also becomes a theatrical reason to refuse engagement — which gives him time to observe.

TAMORA [tamora insisting]

If thou didst know me, thou wouldst talk with me.

If you knew who I was, you would speak with me.

If you knew who I am, you'd talk to me.

you'd talk if you knew me.

TITUS ≋ verse [titus recognizing her]

I am not mad; I know thee well enough.

Witness this wretched stump, witness these crimson lines;

Witness these trenches made by grief and care;

Witness the tiring day and heavy night;

Witness all sorrow that I know thee well

For our proud empress, mighty Tamora.

Is not thy coming for my other hand?

I'm not crazy - I know you well. Look at this injured stump, look at these red marks from my woe. Look at what grief and worry have carved into me. Look at all the sorrowful nights and heavy days I've endured. All this sorrow proves I know you well as our proud empress, mighty Tamora. Isn't your coming to take my other hand?

I'm not insane - I know exactly who you are. See this stump, see these red scars from all my suffering. Look at what grief has done to my face. I've endured countless sleepless nights and miserable days, and all of it tells me I know you perfectly well, our proud and powerful empress Tamora. You're here to take my other hand, aren't you?

im not crazy i know u well this stump these red marks grief carved into me sleepless nights miserable days i know u perfectly powerful empress tamora this is about ur other hand isnt it

Why it matters Titus identifies Tamora immediately. This is the first, and most important, revelation of the scene: he is not fooled. What follows is a conscious performance of being fooled.

TAMORA ≋ verse [tamora performing, seducing]

Know thou, sad man, I am not Tamora;

She is thy enemy, and I thy friend.

I am Revenge, sent from th’ infernal kingdom

To ease the gnawing vulture of thy mind

By working wreakful vengeance on thy foes.

Come down and welcome me to this world’s light;

Confer with me of murder and of death.

There’s not a hollow cave or lurking-place,

No vast obscurity or misty vale,

Where bloody murder or detested rape

Can couch for fear but I will find them out,

And in their ears tell them my dreadful name,

Revenge, which makes the foul offender quake.

Know that I am not Tamora - she is your enemy, and I am your friend. I am Revenge, sent from the underworld to ease the suffering of your tormented mind by working terrible vengeance on your enemies. Come down and welcome me to this world of light. Talk with me about murder and death. There is not a secret cave or hiding place, no vast darkness or misty valley where bloody murder or despised rape can hide in fear but I will find them out, and tell them in their ears my terrible name, Revenge, which makes the guilty offender shake in fear.

Listen - I'm not Tamora. She's your enemy, but I'm your friend. I'm Revenge, sent up from Hell to give your tortured mind some relief by getting horrible vengeance on your enemies for you. Come down and greet me here in the light. Let's talk about murder and death together. There's no cave or secret hiding spot, no dark valley, no place where bloody murder or rape can hide where I won't find them. I'll seek them out and tell them to their faces my name - Revenge - and it will terrify every guilty criminal on earth.

im not tamora shes ur enemy im ur friend im revenge sent from hell to ease ur tortured mind by getting vengeance on ur enemies come down and greet me lets talk murder and death no cave or hiding place i'll find them all tell them my name revenge it will terrify them

"" The underworld, hell — the realm Publius claimed Revenge came from in 4-3. Tamora is picking up the very language Titus used in that scene.

Why it matters Tamora's speech picks up the language Publius invented in 4-3 — 'Revenge from hell.' She is adapting herself to Titus's world and vocabulary. The irony is that Titus invented that vocabulary and now controls how it is used.

TITUS ≋ verse [titus playing along eagerly]

Art thou Revenge? And art thou sent to me

To be a torment to mine enemies?

Are you Revenge? And are you sent to me to torment my enemies?

Are you Revenge? Sent here to torture my enemies?

revenge? for me? to hurt them?

Why it matters Titus begins to play the game. He asks the questions that let Tamora develop her fiction — because he needs her to believe he is persuaded.

TAMORA [tamora confirming]

I am; therefore come down and welcome me.

I am. So come down and welcome me.

Yes. Come greet me.

yes. come.

TITUS ≋ verse [titus testing, laying out his demands]

Do me some service ere I come to thee.

Lo, by thy side where Rape and Murder stands;

Now give some surance that thou art Revenge:

Stab them, or tear them on thy chariot wheels,

And then I’ll come and be thy waggoner,

And whirl along with thee about the globe.

Provide thee two proper palfreys, black as jet,

To hale thy vengeful waggon swift away,

And find out murderers in their guilty caves.

And when thy car is loaden with their heads,

I will dismount, and by the waggon-wheel

Trot like a servile footman all day long,

Even from Hyperion’s rising in the east

Until his very downfall in the sea.

And day by day I’ll do this heavy task,

So thou destroy Rapine and Murder there.

Do me a service before I come to you. Look, by your side Murder and Rape stand. Now show me that you are truly Revenge - stab them, or tear them on your chariot wheels, and then I'll come and be your wagon driver, spinning around with you across the earth. Get me two black horses, dark as night, to pull your vengeful chariot quickly, and find out murderers in their guilty hiding places. And when your chariot is loaded with their heads, I will climb down and like a servant walk the whole day long, from sunrise in the east until sunset in the sea. And day after day I'll do this difficult task, as long as you destroy Crime and Murder.

Before I come join you, do me this - you see Murder and Rape standing right there? Prove you're really Revenge by stabbing them or dragging them behind your chariot wheels, and then I'll be your driver. I'll go everywhere with you chasing down bad guys. Get me two black horses, black as the night, to pull your revenge cart fast, and we'll hunt down murderers wherever they're hiding. When your chariot is full of their heads, I'll jump off and walk all day like a servant, from sunrise to sunset. I'll do this every single day, no matter how hard it is, as long as you destroy those two.

before i join u see murder and rape there prove ur revenge stab them or drag them in ur chariot then ill be ur driver getme two black horses black as night well hunt murderers when ur chariot is full of heads ill walk all day like a servant from sunrise to sunset ill do it every day as long as u destroy those two

"" Saddle horses, typically riding horses rather than war horses. Black as jet — completely black, the colour of mourning and death.

"" Hyperion is the Titan sun-god; his 'rising' is dawn. Titus's elaborate description of serving Revenge from dawn to dusk is both theatrical and a stalling tactic.

Why it matters Titus's demand is a trap: he asks Tamora to stab her sons as proof she is really Revenge. She obviously won't. But the demand also tells the audience (and confirms for Titus) that these are indeed Chiron and Demetrius. He knows.

TAMORA [tamora identifying them]

These are my ministers, and come with me.

These are my servants; come along with me.

These two work for me—come along.

theyre my servants come w me

Why it matters Tamora refuses to harm her sons, which is both obvious and confirmation that the disguise is a lie. Titus takes note.

TITUS [titus asking for names]

Are they thy ministers? What are they called?

Are they your ministers? What are they called?

What are their names?

what are they called?

TAMORA ≋ verse [tamora naming]

Rapine and Murder; therefore called so

’Cause they take vengeance of such kind of men.

Rapine and Murder—that's why they're called so, because they take revenge on that kind of man.

Rape and Murder—because they revenge themselves on men like that.

rapine and murder. because they take revenge on men like that.

"" Violent plunder, seizure — specifically associated with rape and pillaging. Tamora names her son 'Rapine' without irony: the name fits.

Why it matters Tamora names her sons as the abstractions she needs them to be — but she has chosen exactly the right names for them. 'Rapine' and 'Murder' are precisely what Chiron and Demetrius are. The disguise is accidentally confessional.

TITUS ≋ verse [titus darkly ironic]

Good Lord, how like the empress’ sons they are,

And you the empress! But we worldly men

Have miserable, mad, mistaking eyes.

O sweet Revenge, now do I come to thee;

And, if one arm’s embracement will content thee,

I will embrace thee in it by and by.

Good Lord, how much they look like the empress' sons! And you like the empress! But we who live in the world have miserable, crazy, mistaken eyes. Oh sweet Revenge, now I come to you, and if one arm's embrace will satisfy you, I will embrace you in it shortly.

They look exactly like the empress' sons! And you look like her! But we who live in this world have terrible, confused, deluded eyes. Oh my beautiful Revenge, now I'm ready to come to you. If you can be happy with just one arm's embrace, I'll give it to you right now.

they look like the empress sons u look like her we have confused eyes oh revenge im ready to come to u if one arm embrace is enough ill give it to u

Why it matters Titus's performance of being deceived is perfect. He acknowledges the resemblance, then attributes his recognition to 'mad, mistaking eyes' — the exact excuse Saturninus gave him for seeing through Tamora's mask. The irony runs through the whole play.

[_He exits above._]

TAMORA ≋ verse [tamora aside, confident in deception]

This closing with him fits his lunacy.

Whate’er I forge to feed his brain-sick humours,

Do you uphold and maintain in your speeches,

For now he firmly takes me for Revenge;

And, being credulous in this mad thought,

I’ll make him send for Lucius his son;

And whilst I at a banquet hold him sure,

I’ll find some cunning practice out of hand

To scatter and disperse the giddy Goths,

Or, at the least, make them his enemies.

See, here he comes, and I must ply my theme.

This play fits his madness. Whatever I make up to feed his confused thoughts, you support and confirm in your words, because now he truly believes I am Revenge. And being believing in this crazy idea, I'll make him send for his son Lucius. And while I keep him busy at a banquet, I'll think of some clever trick to scatter and confuse the Gothic soldiers, or at least make them his enemies. Look, here he comes, and I must keep acting my part.

This is perfect for dealing with his madness. Whatever I come up with to keep his confused mind happy, you two back it up and confirm it, because he's completely believing that I'm Revenge now. And since he believes that delusion, I can get him to send for his son Lucius. While I distract him at a party, I'll come up with some clever plan to confuse the Goths and turn them against him - or at least against his cause. Here he comes again, so I need to keep playing Revenge.

this fits his madness perfectly i make stuff up for his confused mind u confirm it he believes im revenge now hell send for his son lucius while i distract him at a party ill come up with a clever plan to confuse the goths keep playing revenge

Why it matters Tamora's aside reveals that her plan is improvised. She has no fixed scheme — she's making it up as she goes, confident in her ability to manipulate. This is her fatal flaw: she is still overconfident. She does not know that Titus already has a complete plan.

🎭 Dramatic irony

Enter Titus.

TITUS ≋ verse [titus welcoming revenge]

Long have I been forlorn, and all for thee.

Welcome, dread Fury, to my woeful house.

Rapine and Murder, you are welcome too.

How like the empress and her sons you are!

Well are you fitted, had you but a Moor.

Could not all hell afford you such a devil?

For well I wot the empress never wags

But in her company there is a Moor;

And, would you represent our queen aright,

It were convenient you had such a devil.

But welcome as you are. What shall we do?

I've been waiting for this a long time, and all for you. Welcome, terrifying Fury, to my sorrowful house. Murder and Rape, welcome too. How you look like the empress and her sons! Well are you dressed, if you just had a Moor with you. Could all of Hell supply such a devil? Because I know the empress never moves anywhere without a Moor in her company. And if you really wanted to look like our queen, you would have such a devil with you. But welcome as you are. What should we do?

I've been alone and miserable for so long, waiting for you. Welcome, terrible goddess of revenge, to my sad house. Welcome, Murder and Rape. You really do look like the empress and her sons! If you just had a Moor with you, you'd look perfect. Could Hell find a better devil to go with you? I know the empress is always with a Moor - that's how she travels around. If you really wanted to look like the queen, you'd need a Moor. But you're welcome anyway. So what do you want us to do?

ive been waiting so long for you welcome terrible goddess to my sad house welcome murder and rape u look like the empress and her sons if u had a moor with u ud look perfect the empress always has a moor if u want to look like the queen ud need a moor but welcome anyway what should we do

"" Know — archaic first and third person singular of 'wit' (to know).

Why it matters Titus's welcoming speech is the scene's funniest moment — he points out that the disguise needs a Moor, essentially noting its flaw while pretending not to notice. He is enjoying this.

TAMORA [tamora asking]

What wouldst thou have us do, Andronicus?

What would you have us do, Andronicus?

What do you want us to do?

what do you want?

DEMETRIUS [demetrius ready]

Show me a murderer, I’ll deal with him.

Point out a murderer to me, and I will deal with him.

Show me any murderer, and I'll take care of him.

show me a murderer ill handle him

CHIRON ≋ verse [chiron eager]

Show me a villain that hath done a rape,

And I am sent to be revenged on him.

Show me a villain who has committed rape, and I am sent to take revenge on him.

Show me a rapist and I'll get revenge.

show me a rapist.

Why it matters Chiron volunteers to avenge rape — Chiron, who committed the rape. The dramatic irony is at maximum density.

TAMORA ≋ verse [tamora promising]

Show me a thousand that hath done thee wrong,

And I will be revenged on them all.

Show me a thousand who have wronged you, and I will take revenge on them all.

Name a thousand who hurt you, and I'll destroy every one.

name them. i'll destroy them all.

TITUS ≋ verse [titus with dark understanding]

Look round about the wicked streets of Rome,

And when thou find’st a man that’s like thyself,

Good Murder, stab him; he’s a murderer.

Go thou with him; and when it is thy hap

To find another that is like to thee,

Good Rapine, stab him; he is a ravisher.

Go thou with them; and in the emperor’s court

There is a queen, attended by a Moor;

Well shalt thou know her by thine own proportion,

For up and down she doth resemble thee.

I pray thee, do on them some violent death;

They have been violent to me and mine.

Look around the evil streets of Rome. And when you find a man who looks like yourself, Murder, stab him - he's a murderer. Go with him. And when by chance you find another who looks like you, Rape, stab him - he is a rapist. Go with them. And in the emperor's palace there is a queen, attended by a Moor. You will know her perfectly by your own features, because up and down she resembles you. I ask you, kill them with violent death. They have been violent to me and mine.

Search the streets of Rome. When you find a man who looks like you, Murder, stab him - he's a murderer. Go with them and do it. And when you find a woman who looks like you, Rape, stab her - she's a rapist. Go with them and do it. And in the emperor's palace there's a queen with a Moor with her. You'll recognize her right away because she looks a lot like you. Please kill both of them violently. They've destroyed me and everyone I love.

search the streets of rome find someone who looks like u murder stab them—theyre a murderer find someone who looks like u rape stab them—theyre a rapist theres a queen in the palace with a moor she looks like u kill both of them violently they destroyed me

Why it matters Titus's instructions describe Tamora perfectly — 'a queen attended by a Moor' who 'up and down doth resemble' Revenge. He is telling her she is Revenge. She still thinks she's fooling him.

TAMORA ≋ verse [tamora in control]

Well hast thou lessoned us; this shall we do.

But would it please thee, good Andronicus,

To send for Lucius, thy thrice-valiant son,

Who leads towards Rome a band of warlike Goths,

And bid him come and banquet at thy house?

When he is here, even at thy solemn feast,

I will bring in the empress and her sons,

The emperor himself, and all thy foes,

And at thy mercy shall they stoop and kneel,

And on them shalt thou ease thy angry heart.

What says Andronicus to this device?

You've taught us well. We will do this. But would it please you, good Andronicus, to send for your son Lucius, who leads a band of warrior Goths toward Rome, and ask him to come and have a feast at your house? When he arrives, I will bring in the empress and her sons, the emperor himself, and all your enemies, and they will kneel and beg at your mercy, and you can satisfy your anger with them. What does Andronicus say to this plan?

Good lesson. We'll do what you said. But Titus, would you like us to send for your son Lucius? He's leading a Gothic army toward Rome right now. Ask him to come eat dinner at your house. When he gets there, I'll bring the empress and her sons, the emperor, and all the rest of your enemies. They'll be on their knees begging for mercy, and you can finally get revenge on all of them. What do you think of this plan?

good lesson well do it but would u like to send for lucius he's leading a gothic army to rome ask him to come eat dinner when he gets there ill bring the empress and her sons the emperor and all ur enemies they'll be on their knees begging for mercy u can finally get revenge what do u think

Why it matters Tamora has just handed Titus his complete plan: call Lucius, have a banquet, bring her and her sons. She thinks this benefits her. It will destroy her. She has planned her own trap.

🎭 Dramatic irony

TITUS [titus calling marcus]

Marcus, my brother, ’tis sad Titus calls.

Marcus, my brother—sad Titus calls for you.

Marcus, brother—come here.

marcus.

Why it matters Titus acts immediately. No deliberation — the plan is already formed, the trap is already set. He just needs Marcus to fetch Lucius.

Enter Marcus.

TITUS ≋ verse [titus urgently plotting, sending for lucius]

Go, gentle Marcus, to thy nephew Lucius;

Thou shalt inquire him out among the Goths.

Bid him repair to me and bring with him

Some of the chiefest princes of the Goths;

Bid him encamp his soldiers where they are.

Tell him the emperor and the empress too

Feast at my house, and he shall feast with them.

This do thou for my love; and so let him,

As he regards his aged father’s life.

Go, kind Marcus, to your nephew Lucius; You shall seek him out among the Goths. Ask him to come to me and bring with him Some of the greatest princes of the Goths; Tell him to encamp his soldiers where they are. Tell him the emperor and the empress too Will feast at my house, and he shall feast with them. Do this for my sake; and let him do so, As he regards his aged father's life.

Go, dear Marcus, find your nephew Lucius; Look for him among the Goths. Tell him to come to me and bring with him Some of the top Gothic princes; Tell him to set up camp where he is. Tell him the emperor and empress too Are coming to feast at my house, and he'll feast with them. Do this for me; make sure he understands That his aged father's life depends on it.

go find lucius with the goths. tell him come to me with gothic princes. tell him emperor and empress feast at my house. he feasts too. do this for your father.

MARCUS [marcus agreeing]

This will I do, and soon return again.

I shall accomplish this and return presently.

I'll do it and come back quickly.

ill do it and come back soon

[_Exit._]

TAMORA ≋ verse [tamora preparing to leave]

Now will I hence about thy business,

And take my ministers along with me.

Now I'll go about your business and take my ministers with me.

I'm leaving now, taking my servants with me.

i'm going. with my ministers.

Why it matters Tamora tries to leave with her sons. This is the moment Titus springs the first element of his trap.

TITUS ≋ verse [grimly insistent, setting his trap]

Nay, nay, let Rape and Murder stay with me,

Or else I’ll call my brother back again

And cleave to no revenge but Lucius.

No, no, let Rape and Murder stay with me. Otherwise I'll call my brother back again and depend only on my son Lucius for revenge.

No, no, leave Rape and Murder here with me. If you go, I'll bring my brother back and just count on my son Lucius to get revenge, not on you.

don't leave stay with me or i'm calling marcus back and only trusting lucius for revenge

Why it matters Titus uses the threat of cancelling the plan to force Tamora to leave her sons behind. She needs him compliant. She has no choice.

TAMORA [secretly coaching her sons to comply]

[_Aside to them_.] What say you, boys? Will you abide with him,

Whiles I go tell my lord the emperor

How I have governed our determined jest?

Yield to his humour, smooth and speak him fair,

And tarry with him till I come again.

What do you think, boys? Will you stay with him while I go tell my lord the emperor how I've managed this plan? Give in to his temperament, speak smoothly and kindly to him, and wait with him until I return.

So what do you guys think? You gonna hang here with him while I go tell the emperor how this whole thing is going? Just go along with whatever he wants, be nice to him, and stick around till I get back.

stay with him for me be nice and chill i'll be back soon

TITUS ≋ verse [grimly triumphant, seeing through their disguise]

[_Aside_.] I knew them all, though they suppose me mad,

And will o’erreach them in their own devices,

A pair of cursed hell-hounds and their dam.

I know all of them, even though they think I'm insane, and I'll turn their own schemes against them - a pair of cursed monsters and their mother.

I know exactly who these people are, even though they think I've lost it, and I'm gonna use their own plan against them - a pair of evil monsters and their mom.

i know who they are they think i'm crazy gonna beat them with their own plan

DEMETRIUS [demetrius dismissing]

Madam, depart at pleasure; leave us here.

Madam, leave whenever you're ready. Leave us here.

Go whenever you want. We'll stay.

go. we'll stay.

Why it matters Demetrius dismisses Tamora casually, still thinking he has the upper hand. He doesn't know he'll be dead before she returns.

TAMORA ≋ verse [tamora exiting with false promise]

Farewell, Andronicus. Revenge now goes

To lay a complot to betray thy foes.

Farewell, Andronicus. Revenge now goes to plan the destruction of your enemies.

Goodbye, Titus. Revenge is going to destroy your enemies.

goodbye. revenge will destroy them.

Why it matters Tamora's exit line is accurate — Revenge is going to plot someone's doom. Just not the doom she intends.

TITUS [titus accepting]

I know thou dost; and, sweet Revenge, farewell.

I know you will. And sweet Revenge, farewell.

I know. Goodbye, Revenge.

goodbye.

Why it matters Titus's farewell is layered: he knows what she is going to do (plan against him) and calls her 'sweet Revenge' with complete control over the word's meaning. The audience understands both levels.

[_Exit Tamora._]

CHIRON [chiron impatient for instructions]

Tell us, old man, how shall we be employed?

Tell us, old man, how are we to be employed?

Old man, what do you want us to do?

old man what do u want us 2 do

Why it matters Chiron, alone with Titus, drops the formal register. 'Old man' is contemptuous. He still has no idea.

TITUS ≋ verse [titus brisk, commanding]

Tut, I have work enough for you to do.

Publius, come hither, Caius, and Valentine.

I have plenty of work for you. Publius, come here. Caius and Valentine—come.

I've got plenty for you to do. Publius, Caius, Valentine—come here.

come here. all of you.

Why it matters Titus calls his men. Chiron and Demetrius have no idea who Publius, Caius, and Valentine are or why they're being summoned.

Enter Publius and others.

PUBLIUS [publius asking]

What is your will?

What is your command?

What do you want?

what do u want

TITUS [titus pointing]

Know you these two?

Do you know these two people?

Do you recognize these two?

do u know these two

PUBLIUS [publius answering]

The empress’ sons, I take them, Chiron, Demetrius.

These, I believe, are the empress' sons—Chiron and Demetrius.

I think these are the empress's sons—Chiron and Demetrius.

yep the empress's sons chiron n demetrius

TITUS ≋ verse [titus correcting]

Fie, Publius, fie, thou art too much deceived.

The one is Murder, and Rape is the other’s name;

And therefore bind them, gentle Publius.

Caius and Valentine, lay hands on them.

Oft have you heard me wish for such an hour,

And now I find it. Therefore bind them sure,

And stop their mouths if they begin to cry.

No, Publius—you're deceived. One is Murder, and the other is Rape. These are the men who cut your cousin's tongue and raped her. These are Chiron and Demetrius—and they're going to pay.

Wrong, Publius. They're not the empress's sons. They're Murder and Rape. These are the ones who cut Lavinia's tongue and raped her. Chiron and Demetrius. And now they'll answer for it.

no. they're murder and rape. they cut lavinia's tongue. they raped her. chiron and demetrius. they'll pay.

Why it matters Titus names them as their allegorical identities — Murder and Rape — rather than Chiron and Demetrius. He is not confused; he is completing the masque on his own terms. They came as abstractions; they will be treated as abstractions.

[_Exit Titus._]

CHIRON [chiron and demetrius protesting]

Villains, forbear! We are the empress’ sons.

Villains, stop! We are the empress' sons.

Stop, you villains! We're the empress's sons.

stop villains were the empress's sons

Why it matters Chiron drops the disguise immediately when threatened. The entire elaborate masquerade collapses at the first physical danger. This underlines how thin the fiction was.

PUBLIUS ≋ verse [publius and caius obeying]

And therefore do we what we are commanded.

Stop close their mouths, let them not speak a word.

Is he sure bound? Look that you bind them fast.

And that's why we do what we're commanded. Bind their mouths—don't let them speak another word.

And that's why we follow orders. Gag them. Not another word.

bind their mouths. silence them.

Why it matters Publius's reply is perfect: Titus has commanded this, and they obey. The appeal to their status as the empress's sons is exactly the wrong appeal — it confirms they are the right targets.

Enter Titus Andronicus with a knife, and Lavinia with a basin.

TITUS ≋ verse [titus triumphant, addressing all]

Come, come, Lavinia; look, thy foes are bound.

Sirs, stop their mouths, let them not speak to me,

But let them hear what fearful words I utter.

O villains, Chiron and Demetrius!

Here stands the spring whom you have stained with mud,

This goodly summer with your winter mixed.

You killed her husband, and for that vile fault

Two of her brothers were condemned to death,

My hand cut off and made a merry jest,

Both her sweet hands, her tongue, and that more dear

Than hands or tongue, her spotless chastity,

Inhuman traitors, you constrained and forced.

What would you say if I should let you speak?

Villains, for shame you could not beg for grace.

Hark, wretches, how I mean to martyr you.

This one hand yet is left to cut your throats,

Whiles that Lavinia ’tween her stumps doth hold

The basin that receives your guilty blood.

You know your mother means to feast with me,

And calls herself Revenge, and thinks me mad.

Hark, villains! I will grind your bones to dust,

And with your blood and it I’ll make a paste,

And of the paste a coffin I will rear,

And make two pasties of your shameful heads,

And bid that strumpet, your unhallowed dam,

Like to the earth swallow her own increase.

This is the feast that I have bid her to,

And this the banquet she shall surfeit on;

For worse than Philomel you used my daughter,

And worse than Procne I will be revenged.

And now prepare your throats.—Lavinia, come

Receive the blood.

Come, come, Lavinia. Look, your enemies are bound. Sirs, quiet their mouths - let them not speak to me, but let them hear what terrifying things I say. You villains, Chiron and Demetrius! Here stands the young woman you have destroyed and ruined, this beautiful summer you've mixed with winter. You killed her husband, and for that crime two of her brothers were condemned to death. My hand was cut off and made a cruel joke. Both her beautiful hands, her voice, and something more precious than hands or voice - her innocent purity you forced and violated. What would you say if I let you speak? You villains, for shame you could not even beg for mercy. Listen, you wretches - here is how I will torture you. This one hand I still have can cut your throats, while Lavinia between her stumps holds the basin to catch your guilty blood. You know your mother plans to eat with me and calls herself Revenge, and thinks I'm crazy. Listen, you villains! I will crush your bones to dust, and with your blood and the dust I'll make a paste. And from the paste I'll build a coffin, and make two pies from your shameful heads, and ask that disgrace, your unhallowed mother, like earth swallowing her own offspring. This is the feast I promised her, and this is the banquet she will gorge herself on. Because you used my daughter worse than Philomela was used, and worse than Procne I will take my revenge. Now prepare your throats - Lavinia, come receive their blood.

Lavinia, come look at this - your attackers are tied up. Everyone, shut them up - I don't want them speaking to me, but I want them hearing what I'm going to say. You're monsters, both of you - Chiron and Demetrius! This is the girl you destroyed, this beautiful young woman you ruined. You killed her husband, which got her brothers executed. You had my hand cut off as a joke. You took away her beautiful hands, her voice, and her innocence - and nothing is more precious than that. What could you even say if I let you talk? You should be begging for mercy. Here's what's going to happen to you. I have one hand left, and it's going to cut both your throats while Lavinia catches your blood in a bowl. Your mother is coming here thinking I'm crazy and that she's Revenge. Well listen - I'm going to grind your bones to powder and mix it with your blood to make paste. Then I'm going to make a coffin out of that paste and bake your heads into two pies. And I'm going to serve them to your mother, and she's going to eat her own children. This is the dinner party I promised her - this is what she's going to feast on. You treated my daughter worse than they did to that girl in the old stories, and I'm going to be even more cruel than she was. Get ready to die. Lavinia, come collect their blood.

lavinia look—ur enemies r bound shut their mouths they cant speak but they'll hear what i say u monsters chiron and demetrius u destroyed this girl u ruined her u killed her husband u got her brothers executed u had my hand cut off u took her beautiful hands her voice her innocence nothing is more precious u could be begging for mercy but heres what happens i have one hand left its gonna cut ur throats lavinia catches ur blood this is the feast i promised ur mother not mercy—punishment two pies from ur heads shell eat her own children u treated my daughter worse than anything in the old stories im going to be even more cruel get ready to die lavinia come collect their blood

"" In culinary terms, a 'coffin' was the pastry casing of a pie. Titus will bake Chiron and Demetrius's heads in a pie-coffin.

"" Meat pies — pastry cases enclosing minced or chopped filling. The word is used in cooking, not as a euphemism.

Why it matters The speech is Titus's most fully controlled moment in the play. He lists every wrong done to his family with precision, announces exactly what he will do and why, invokes the Philomela/Procne myth as his frame of reference, and then kills them. He is not mad. He is methodical, horrifying, and — in the context of what was done to Lavinia — comprehensible.

[_He cuts their throats._]

TITUS ≋ verse [titus gleefully plotting the grim pie]

And when that they are dead,

Let me go grind their bones to powder small,

And with this hateful liquor temper it,

And in that paste let their vile heads be baked.

Come, come, be everyone officious

To make this banquet, which I wish may prove

More stern and bloody than the Centaurs’ feast.

So, now bring them in, for I’ll play the cook,

And see them ready against their mother comes.

And when they are dead, Let me go grind their bones to powder, And with this hateful liquid mix it, And in that paste let their vile heads be baked. Come, come, everyone must help eagerly To make this banquet, which I wish may be More terrible and bloody than the Centaurs' feast. Now bring them in, for I will play the cook, And prepare them for their mother's arrival.

When they're dead, I'll grind their bones to powder, Mix it with this hateful liquid, And bake their vile heads in the paste. Everyone, help me prepare this banquet, I want it to be more terrible and bloody Than the feast of the Centaurs. Bring them in now, I'll be the cook, And I'll have them ready when their mother arrives.

when dead, grind bones to powder. mix with liquid. bake heads in paste. make banquet more bloody than centaurs' feast. i'm the cook. ready when mother comes.

[_Exeunt, carrying the dead bodies._]

The Reckoning

The double-disguise scene. Tamora thinks she is deceiving Titus into calling off Lucius. Titus is deceiving Tamora into delivering her sons to his kitchen. Both play the madman and the manipulator simultaneously — but only one of them knows the full game. The scene's terrible comedy culminates in one of Shakespeare's most visceral stage images: Lavinia — tongueless, handless — holding the basin to catch her rapists' blood.

If this happened today…

Someone plays dead to lure the person who wronged them into a trap. The wrongdoer believes they are in control of the encounter; they are walking into an ambush they designed. The twist is that the 'victim' has had to become something monstrous to engineer the trap. Titus gets what he wants. What he becomes to get it is the harder question.

Continue to 5.3 →