Over the course of the past year I’ve leaned a lot about revenge literature as well as myself as a student. A challenge moment for me came when we had to read The Spanish Tragedy for homework. I found it very hard to understand because I could’t tell if things were a a metaphor or not and it was really long. I responded to this challenge by talking it slow and reading small chunks at a time. This proved successful as I was able to understand the texts and firmly grasp the story. Looking back on this year, I’m surprised at how useful my commonplace book was. I did some of my most critical thinking and creative brainstorming for projects on those pages (as well as some create doodles). My class also surprised me this year. I was so proud of how well we were able to come together and collaborate on the Medea project (especially after last years’ Hamlet project). We communicated well and although it seemed slow at some points, we moved along at a good pace. My proudest moment this year stemmed from the Medea project. I was really dedicated to the final production and put so many hours of work into creating the website and taking pictures. My biggest moment of discovery came when we started reading The Prince, The Courtier, and Greenblatt. Up until that moment I had never thought about the inner workings of a revenge character. For the first time I considered how a revenge fits into society and how the function within the system (or not). It was all very eye-opening.
Overall, I’ve enjoyed this year. Although frustrating at times, I’ve learned a lot about revenge stories and characters as well as things about myself as a student.
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Wow! It's been quite a year. It's gone by so fast! I look back to the first page of my commonplace book and I see our starting question: What's the point of representing revenge? I think throughout course of this year I finally have not just one, but a variety of possible answers to this questions. Perhaps, revenge is something we inherently crave because violence is part of human nature and we need some way to satisfy that. Or maybe we see revenge as a form of entertainment, and/or we are addicted to it. Maybe revenge shows us who we are. It's a tool we as the audience can use for self-refelction.
I remember receiving the packet containing parts of Ovid's Metamorphoses and thinking it was going to be boring. However, it was really quite entertaining and was a great to start delving into the meaning, character tropes, and themes of revenge. From this reading learned about revenge vs. punishment. Where is the line? I started to ponder whether or not revenge could be a form of justice. My mind began to open up to the deeper meaning of revenge. For the first time, I considered the ethics of revenge. Before this class I thought revenge was purely emotional, but after exploring this question with texts like Metamorphoses and V for Vendetta, I see that there are indeed rules for the renege whether the author or the characters within the story create them. After first semester we began to shift direction, looking at texts like The Prince, The Courtier, and Greenblatt. At first, I was really confused on how these texts could apply to revenge. However, after some intense class discussion, I realized that these texts were acutely very applicable to revenge stories. Whereas the first semester texts focused on the revenge story, the second semester texts focused on the revenger. I really enjoyed this part of the year, because I got learn a lot about what goes on behind the mask (ha. See what I did there @VforVendetta). For the first time, I started contemplating how a revenger blends into society and other roles they play. The most fun I had with a text in this class was reading V for Vendetta. My initial impression was that it would be very violent, with not a lot of deeper meaning. This impression was due to the fact that many people cite V for Vendetta as an example of revenge, and most people (like myself at the beginning of this year) only view revenge as bloody vengeance. To my great delight, V was actually quite entertaining. I loved how it was a graphic novel. Being able to see what V looked like and and world he lived in made the story that much more impactful. By reading V, I was able to apply all of the skills I’ve learned this year. I questioned whether or not V’s actions were revenge or justice. I pondered if there were any ethic to V’s plans. I dug into the man behind the mask. What drove him to do all of those things? Was he working for himself or larger group? My time with V did not end after I close the back cover, as I had to watch the movie adaptation for homework. I was a little nervous to see the movie because I was not looking forward to some specific scenes, like the dolls at Larkhill or Evey’s torture. However, much to my surprise, the movie was quite enjoyable. I think the directors did an amazing job encapsulating the spirit of V. I liked how they took out some of V’s long speeches because I found those parts a little boring in the book. The ending scene where V faces off against all those men was a little overdone. I don’t think book V would have been so theatrical. It made V seem more like a superhero than a common person fighting for good. Although I loved reading V for Vendetta, my favorite part was working on the Medea project. It was so much to work with my peers again. I think we took a lot of what we learned from last year’s Hamlet project, what worked and what didn’t, and applied to this project. I’m actually proud of the film we produced, and the website looks pretty awesome. *If you want to read more about the Medea project, click the Medea button at the end of this post. Overall, I would say that I enjoyed this class. At some points it was frustrating because I didn’t know what direction we were moving in, but looking back, that was a good learning experience on how to go with the flow. The texts we read helped open my mind to the genres and facets of a revenge character. Throughout the year, I have learned how to collaborate with my peers, share and debate ideas in group discussion, and design websites. I will definitely be using these skills in college and (possibly) beyond. * Disclaimer: I did not attend the Titus viewing so I can’t really talk about Titus in the film.
After reading V for Vendetta, I saw revenge depicted in a much more dramatic way than in Titus Andronicus. For example, V in the novel used his revenge to help free the people (at least in his mind). His vendetta was something bigger than him. On the contrary, revenge in Titus Andronicus as purely personal. Aaron took revenge on the Andronci for harming his lover, Tamora. Likewise, Titus took revenge on Tamora’s sons for their rape and mutilation of Lavinia. In this instance, all the characters were taking revenge due to a personal offense versus a group wrongdoing. (One could consider the Andronci a group, but their in the same family, so it doesn’t count). Now, V’s revenge in the movie is depicted a bit differently than V’s revenge in the book. I think it was more of a personal thing at first that eventually developed into a bigger motive. It wasn’t that V himself was acting off of personal offense (you didn’t actually get to see much of him at Larkhill). It was more like the way the story was laid out made it seem more personal. For example, the way that V focused on certain people, but the audience didn’t know they worked for Norsefire (or at least it wasn’t as clear to me as it was in the book). Towards the end of the movie, I could definitely see that V was a movement, not just a person. This was especially obvious in the scene where everyone donned a Guy Fawkes mask and marched toward parliament. Overall, I think Titus Andronicus as well as V for Vendetta, the book and movie form, show audiences two very important versions of revenge. Titus show revenge at it’s most personal and bloodiest level (I believe so). Each person is driven by their own emotions, anger, and bitterness. On the other, V illustrates that while revenge can be personal, sometimes your actions are part of a much bigger picture. Is revenge a form of justice? Can revenge be justified? Using our two recent texts we’ve read, The Spanish Tragedy by Thomas Kyd, and Titus Andronicus by William Shakespeare, I would have to say that revenge can be justified in some cases but not others. I don’t believe that revenge is a “good” thing but I think in certain circumstances, one can justly carry take revenge.
In TSP, Hieronimo starts as the Knight-Marshal, a formal figure of justice responsible for maintaining order in the King’s Court. However, after he finds his son murdered, he decides to step outside of the law to bring the killers to justice. Hieronimo’s decisions and actions can be justified because he did not seek revenge before his son was killed. Only after someone wronged him did he actively seek vengeance. It is interesting that as a Knight Marshal Hieronimo decided to step outside of the law when he son was killed. He literally is the law, but its like even he knows law cannot bring his son justice. Titus gets little more dicey when it comes to justifying revenge (pun intended). I understand that Tamora was mad at Titus and the Andronci for defeating her and her Goths. And I can see why Aaron, Tamora’s lover, would also be affected by her rage. However, I do not agree with Aaron’s choice to frame Quintus and Martius for Bassianus’s murder. It bothered me that he got into that whole business with revenge on the Andronici. They didn’t do anything to him directly. Aaron was too emotionally involved. Titus and his sons defeated the Goths, which he isn’t one. It really was not his place to interject. I think Tamora would have figured out her own sort of revenge. She seems smart enough. On the other hand, I respect Titus’ wish to avenge Lavinia’s rape and mutilation. Now, Titus didn’t have to bake Demetrius and Chiron into a pie and serve them to their mother, but it’s theatre. Overall I believe that revenge in the TSP is much more justifiable than revenge in Titus, but parts can still be justified. The main difference for me was that the characters in Titus were way too loyal to Rome. Like, I get that Rome is important and stuff, but you don’t have to kill your son for disagreeing with Rome. Family should be more important, but not so important that you kill someone (i.e. Bassianus) for insulting you mom (ahem, Demetrius and Chiron). I hear a knock at the door. What is this before my eyes? It is the wretch herself, Tamora. She asks to come in (perhaps to steel my other hand). Ha! She says she is Revenge. How she thinks she can fool me. She has brought her sons, Demetrius and Chiron, with her. She wishes to play them off as Rape and Murder. Ha! I shall fool the fool. Come in, come in. You ask for a murderer, I’ll show you a murder. I go on to describe a man much like Murder standing before me. You ask for a rapist. I know man much like you who hath ravished an innocent doe. And you ask for my enemies, on whom you will take revenge upon. Ha! There is a whole court them, of which you gladly take a chair in. Tamora evades my hints. She instead wishes I host a banquet for the Emperor and his court as well as my son Lucius. I will play along for now. I know my revenge will come, if not from this Revenge. Ah wait! Before you leave, Revenge, I pray you leave your attendants here. Tamora pulls her sons aside, and they exchange a few words. They think me mad, and believe that they can trick me. Ha! Just you wait… Ah yes, the two sons wish to stay. What a grave mistake for they do not know what is to come. Publius, Caius, Valentine, tie up these two damned sons. Gag their mouths, so they do not cry out. I will fetch my knife. You gruesome demons! You who killed Bassianus, had two of my sons killed, and ravished and mutilated my only daughter. Come Lavinia, receive the blood. “[A]nd 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[!]” (5.2.201-2015). (At 350˚F). I’ll play the cook, and let Tamora feast on her sons. How sweet is revenge. The table is set. The curtain is up. Time to shine. “Welcome, my gracious lord; welcome, dread queen; / Welcome, ye warlike Goths; welcome, Lucius; /And welcome, all: although the cheer be poor, / ’Twill fill your stomachs; please you eat of it (5.3.26-29). Do you think it was right, Saturnius, for a father to slays his daughter after she had been ravished? Ah yes, I see your point. My sweet Lavinia, with your death your father’s sorrow dies. It was not I who killed her! Chiron and Demetrius killed her spirit, her should, when they ravished her in those dark woods. You ask for them? Why (maniacally laughter) they are here, in this very pie, which you, my Queen, just consumed. HA HA HA. Now, Tamora, witness my knife’s sharp point. Saturnius is appalled. He comes towards me. Ah! I am slain! Twas a good life. I revenged my daughter, and my sons. I look forward to meeting them on the other side. Why I chose Titus I chose Titus because I haven’t done his POV yet and I feel like I should because the book is about him. I was also saving him for last because I thought he would survive to at least the last act. I wanted to accentuate the craziness (or feigned craziness) of Titus. I did this by adding in lots of random thoughts, and having Titus’ mental flow jump around a lot. Titus knows it’s his time to take revenge, and he knows it, as seen in the line “Time to shine.” *cooking show music "Dah dah dah dah dah Dah dah dah dah dah Dah dah dah dah dah TITUS!"
AGH!!! My aunt pursues me with her waving stumps and speechless mouth. Grandfather, help me! Titus embraces me, measuring that my aunt would never hurt me. I know this, of course, but lately aunt Lavinia seems rather crazy. What father? She wants the book? Which one? Ovid’s Metamorphoses. I watch as Lavinia leafs through the pages. She stops on the tale of Philomel and Tereus. She is trying to tell us something. Titus sits down, picks up a stick in his mouth and manages to write in the sand. Now he hands the stick to my aunt. She scrawls out the words “Stuprum. Chiron. Demetrius” (4.1.79). What is the madness? Two Goths have used my aunt for their own lustful feelings! Marcus vows to take revenge even if he die trying. I know I am not a man yet, but I kneel and affirm my support and willingness to do the same. I wish to strike my dagger into their bosoms, those who harmed my aunt. Titus stops my rage, offering a different course of action. I enter the room to find Demetrius, Chiron, and Aaron. Just as my grandfather told me, I give them the weapons with notes tied around them. I turn to leave them both, “like bloody villains” (4.2.16).. Titus, Marcus, my great uncle, Publius, Caius, Sepronius, and I all gather. We ready our bows and arrows with letters on the end of them, and take aim towards the constellations. I pray to the gods for justice for my aunt. Great uncle Marcus advises we also aim our arrows into the court and “afflict the Emperor in his pride” (4.3.64). We take aim, and let our arrows soar upward before falling into the court. What do we have here? A country fellow? He states he is on his way to see Saturninus. My grandfather bids he take a letter with him, promising him money. The country fellow leaves. Titus and Publius head off as well. Why I chose Young Lucius
I originally wanted to write from Aaron’s point of view because this act reveled a lot more about his character, something I would like to explore. However, I already wrote about Aaron in Act II. I did not choose Titus, Marcus, or Saturnius because character’s seem to be dropping like flies, and want to use other ones before they die. In short, I chose Young Lucius because 1) he hasn’t died yet, but he might soon and 2) I wanted to write from the other side. Last time I was writing from someone who wanted to take revenge on the Andronici. My Tamora has just been made Empress of Rome. What does these mean for me? Perhaps I may benefit from my love’s high status. What is this noise I hear? Ah, it is young Demetrius and Chrion, son of Tamora. They are fighting over who loves Lavinia more. Oh, these two will never come to peace. Their quarrel draws nearer to the Emperor’s palace. Be careful! What foolish boys! Why not just capture Lavinia and have your way with her – the both of you! What luck it is that the brothers wish to take Lavinia, adding to the Andronci’s despair. The hut is on! I have brought my dogs, but I have other plans in mind. Bassianus, Saturninus, Titus, Tamora, Lavinia, Chiron, Demetrius, and Titus’ sons are all here. Everything is going according to plan… These woods are large, but yet I have found the perfect hiding spot. Although many “intelligent” people would think I have none. They would believe me to take this gold for myself. Bah! This gold serves a bigger purpose – “a very excellent piece of villainy” (2.3.7). My lovely Tamora! She wishes for me to make love to her, pointing out the beautiful day around us. However, while the Venus govern’s her desires, I am driven by Saturn. Today is a day for vengeance and I must carry mine out. I hand the letter to Tamora. She knows her part. She moves towards me, and we embrace. What?! It’s Bassianus. He hath caught Tamora and I. Lavinia is here as well, and she moves quickly to berate my love. Oh, what is this? Chiron and Demetrius have just arrived. Lavinia is still babbling her mouth and Bassianus soon joins. They better watch out. One should be wary to insult the empress. Ah ha! Demetrius and Chiron have both drawn their daggers. They move to stab Bassianus, and their strikes ring true. Tamora moves for the dagger, wishing to kill Lavinia herself. However, Demetrius and Chiron intervene, expressing their wishes to satisfy their lust upon Lavinia. She pleads with Tamora, appealing to her womanhood. Her efforts are to no avail, and after my instruction to throw Bassianus’ body into a pit, they carry her off. Now! Time for the final phases of my plan. I must fetch Quintus and Martius, those wretched sons of Andronicus. I shall convince them that there panther, lying asleep,just around this corner. Ah ha! They have fallen into the pit doth hold Bassianus’ body. Now, to fetch his Highness. Saturninus sees the two brothers in the pit. He calls down to them. I watch his face as the news breaks of his brother’s death. And here is my love! She hands over the letter I gave her earlier, suggesting that the Andronci carried out this unholy deed. Right on track, Saturninus blames the Andronci. Titus makes a plea for his sons. But alas, not even he can save them. Revenge is sweet. Why I chose Aaron
I chose Aaron because he really is the mastermind and driver of the Act II. He convinces Demetrius and Chiron to rape Lavinia, gets Bassianus killed, and successfully framer the Andronici – all without getting his hands bloody. For this POV piece, I included more though processes to show the planning a revenger must do. I also added in an underlying tone of confidence as well as intense focus on revenge. I got this idea when Aaron turned down Tamora’s pleas to make love to her in favor of his plans of revenge. To me, Aaron is a Machiavellian character in the way that he plans out his revenge, biding his time, and manipulating others around him to get what he wants. Saturninus has just been crowned king by my brother. He has pledged to marry my niece, Lavinia, in return of my brother’s gesture. What is this?! Bassoons claims my niece as his own. He grabs her arm and runs off. What madness! We must give chase! Come my nephews! As I enter the room I suddenly notice the lifeless body of my nephew, Mutius. I immediately piece together that his own father hath slain him. I plead with brother to inter Mutius into our family tomb, but he protest me, claiming Mutius was no son of his. Mutius was a virtuous man, a good nephew, and a performer of honorable deeds. It is unreligious and disrespectful to refuse this right to Mutius, is it not? Titus is still pushing back. Martius and Lucius are putting up a small fight now. Alas, Quintus suggests we withdraw, wait for another day. But Martius steps in, proclaiming that he will not withdraw until Mutius’ bones are properly buried, and I stand with him. Perhaps, an allusion will help my brother see his unreasoning. I think of the Greeks and how upon a father’s plea, they buried Ajax, even though he slaughtered many of their livestock. Do you see. father? Do not let Mutius, who was as much a joy to you as he was to us, be barred from the same ritual. It seems to have worked, though brother says we have dishonored him. We bury him and I say my final farewell. After the burial I take my brother aside. What is the reason the Queen of the Goths hath advanced in Rome? Last I checked, Saturninus was supposed to marry my sister Lavinia. What? Bassianus has claimed her as his ownand thus Saturninus has settled for Tamora. I muse over this as the rest of the cast enters. I watch as Bassianus and Satnurninus argue over their women. Saturninus calls the abduction of my niece a rape, though he makes no attempt to get her back. Perhaps Saturninus does not value her as he should. Ah! Here, Bassianus attempts to preserve my brother’s good name, hoping to mitigate Titus’ punishment for his crime. However, Titus steps in, not wishing for Bassianus to grovel for him, leaving the decision to the heavens. Yet, he throws in a sly line, highlighting his previous devotion to Saturnine. But here, Tamora jumps to my broher's defense, noting that one should not lose a longtime friend over a small quarrel. She whispers something aside to her lord. I wonder what they speak of… Whatever the Queen spoke seems to have changed Saturninus’ mind. My brother is free. Tamora now turns towards our group. She declares that today all quarrels end between her and my family. She turns to Bassianus, saying she has passed her word to her lord that he will be more mild mannered in the future (perhaps not go running off with future Empresses). Now, she addresses my poor niece, advising her to kneel as beg for forgiveness. My nephew, Lucius, kneels and explains that our actions were only driven by our desire to affirm our sister’s honor as well as our own. I kneel as well and affirm what Lucius has said. Saturninus, seeing us as a threat, attempts to send us away, but Tamora points out that we are kneeling out of respect. We only wish to explain ourselves, not excuse ourselves. At his lady’s words, Saturninus remits our faults. A feast is called in honor of Tamora’s marriage to his Highness and my niece’s marriage to Bassianus. We all head to the dining hall. Why I chose Marcus
Marcus originally caught my attention because he outrightly opposed his brother’s wishes. I liked his individuality (how Galloway!). In the dispute with his brother, he did not give up, fighting for what he believed was right and just. However, what really impressed me was his recovery fro that argument. Right after the burial, he had a very civil and straight-forward conversation with Titus. I wrote Marcus as sort of a wallflower, but with an assertive side. He seems quiet and composed, mostly watching what’s happening in front of him. I illustrated this in his many observations about what was going on in front of him. However, when he has a stance on a subject, like his nephew’s right to a proper burial, he does not shy away from his opponents. For these moments, I added in more personal thoughts and reactions to what was going on around him. Preface At the beginning of Act 1 Scene 1 of Titus, Saturninus and his brother, Bassianus, are speaking to their respective followers. Both brothers have laid claim to their late fathers throne, and are about to go to war over it. Why should I bow to my brother?! I am the oldest son. The throne is my birthright! Men, follow me, fight for me! But wait, Marcus Andronicus has just announced that the people have chosen Titus Andronicus as their new emperor. My thoughts are calmed, yet why elect a war hero?! Oh wait, can’t forget about my men. “Thank you to those who supported and drew their weapons in my name. You are now dismissed.” I see Titus come in along with Tamora, Queen of the Goths (how beautiful is she); six of his sons, four alive and two dead; his daughter, Lavinia; and some other people. Andronicus follows Roman traditions. He sacrifices Tamora’s eldest son as repayment for the death of his own. Perhaps a man of tradition will know my rightful place on the throne and will grant it to me. Alas, my thoughts ring true! Thank you, Titus Andronicus! Why did I choose this character?
I chose to write from Saturninus’s POV because I didn’t really understand what was going on with his character. At one point he seems to be talking to with his brother, but at another he’s wearing white robes and people are cheering for him. I guess I didn’t really understand the plot line of this section. I wrote Saturninus’s POV as power hungry and self-centered because throughout the portion we read, his lines mostly pertain to who has power and his right to the throne. In first lines of the play he strongly believes that as a first-born son has the right to throne, proclaiming to his men, “I am his first-born son, that was the last / That wore the imperial diadem of Rome; / Then let my father's honors live in me, / Nor wrong mine age with this indignity” (Shakespeare 1.1.5-9). After Titus is named king by Marcus his emotions are quickly calmed, relating to the audience “How fair the tribune speaks to calm my thoughts!” (1.1.46). Saturninus’s luck just keeps getting better when Titus decides to hand the scepter of Rome to Saturninus, declaring “Give me a staff of honor for mine age, / But not a scepter to control the world / Upright he held it, lords, that held it last” (1.1199-201). Proof of Saturninus’s own ego is seen in his own response to being crowned king, he says “Andronicus, would thou wert shipp'd to hell, / Rather than rob me of the people's hearts!” (1.1208-209). Today our class shared our memes. There were five groups, each assigned a topic. Our group was the politics group. Other groups’ topics were drama, religion, the role of women, and Thomas Kid. For tonights blog post, I chose to write about the connection between the role of women in the real society (back then) and the women in the The Spanish Tragedy.
While viewing the website the group created, I was particularly drawn to the tab about “Political Powerful Roles of Women.” The two powerful women during the time of The Spanish Tragedy were Queen Isabel I of Spain and Queen Elizabeth I of England. After reading a short bio on each woman, I began to make some connection between them and our heroine, Bel-Imperia. Similar to Queen Elizabeth, Bel-Imperia did not marry. Like, Queen Isabel, Bel-Imperia was pressured to marry man she didn’t love. In addition, she wasn’t born to take the throne, but she ended up holding considerable power in her decision over whether or not to marry Balthazar. Bel-Imperil also harbors an uncanny amount of autonomy for a woman during her time period. She makes the decision to play both Lorenzo and Balthazar by toying around with Horatio. She is Hieronimo’s first lead on murder of his son. She constantly rebuffs Balthazar’s attempts at courtship with ease and confidence. Lastly, in perhaps her biggest act of autonomy, she kills herself, freely choosing her own fate. Throughout The Spanish Tragedy, the character of Bel-Imperia constantly defies all stereotypes of women during that time period. She holds much power, displayed in her ability to plan her own revenge, rebuff a man’s pursuits, help with a murder case, and choose her own fate. |
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May 2017
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