Anger and Revenge in Titus Andronicus
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Renaissance revenge tragedy has been understood as a genre that either disparages or celebrates private retribution in opposition to the public legal system. This article, though, argues that revenge tragedy stages these two receptions simultaneously. Through analyzing Shakespeare’s Titus Andronicus, I show that the dichotomized evaluations of revenge correspond to two contrasting views of anger: Senecan and Aristotelian. On the one hand, the Goths rely on Senecan anger, which emphasizes destructiveness, and thus their revenge is geared toward excess. The Andronici, on the other hand, situate their revenge along with Aristotle’s mild anger and the law of equilibrium. For this, they model the classical myths of Philomel and Lucrece, both of which are examples of righteous and politically inevitable revenge. Although the legitimacy of the Andronici’s revenge is contestable, the play still contextualizes the dynamics between excess and moderation, Senecan anger and Aristotelian anger, as well as the negative and positive evaluations of vengeance through the factional conflict.
Abstract
Renaissance revenge tragedy has been understood as a genre that either disparages or celebrates private retribution in opposition to the public legal system. This article, though, argues that revenge tragedy stages these two receptions simultaneously. Through analyzing Shakespeare’s Titus Andronicus, I show that the dichotomized evaluations of revenge correspond to two contrasting views of anger: Senecan and Aristotelian. On the one hand, the Goths rely on Senecan anger, which emphasizes destructiveness, and thus their revenge is geared toward excess. The Andronici, on the other hand, situate their revenge along with Aristotle’s mild anger and the law of equilibrium. For this, they model the classical myths of Philomel and Lucrece, both of which are examples of righteous and politically inevitable revenge. Although the legitimacy of the Andronici’s revenge is contestable, the play still contextualizes the dynamics between excess and moderation, Senecan anger and Aristotelian anger, as well as the negative and positive evaluations of vengeance through the factional conflict.
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