He that had wit would think that I had none,
To bury so much gold under a tree,
And never after to inherit it.
Let him that thinks of me so abjectly
Know that this gold must coin a stratagem,
Which, cunningly effected, will beget
A very excellent piece of villainy.
And so repose, sweet gold, for their unrest
That have their alms out of the empress’ chest.
He that had wit would think that I had none,.
To bury so much gold under a tree,.
And never after to inherit it.
Let him that thinks of me so abjectly.
Know that this gold must coin a stratagem,.
Which, cunningly effected, will beget.
A very excellent piece of villainy.
And so repose, sweet gold, for their unrest.
he that had wit would think that i had none,.
to bury so much gold under a tree,.
and never after to inherit it.
let him that thinks of me so abjectly.
know that this gold must coin a stratagem,.
which, cunningly effected, will beget.
he that had wit would think that i had none
My lovely Aaron, wherefore look’st thou sad
When everything doth make a gleeful boast?
The birds chant melody on every bush,
The snakes lie rolled in the cheerful sun,
The green leaves quiver with the cooling wind,
And make a chequered shadow on the ground.
Under their sweet shade, Aaron, let us sit,
And whilst the babbling echo mocks the hounds,
Replying shrilly to the well-tuned horns,
As if a double hunt were heard at once,
Let us sit down and mark their yelping noise;
And after conflict such as was supposed
The wand’ring prince and Dido once enjoyed,
When with a happy storm they were surprised,
And curtained with a counsel-keeping cave,
We may, each wreathed in the other’s arms,
Our pastimes done, possess a golden slumber,
Whiles hounds and horns and sweet melodious birds
Be unto us as is a nurse’s song
Of lullaby to bring her babe asleep.
My lovely Aaron, wherefore look’st you sad.
When everything does make a gleeful boast?
The birds chant melody on every bush,.
The snakes lie rolled in the cheerful sun,.
The green leaves quiver with the cooling wind,.
And make a chequered shadow on the ground.
Under their sweet shade, Aaron, let us sit,.
And whilst the babbling echo mocks the hounds,.
my lovely aaron, whbeforefore look’st you sad.
when everything does make a gleeful boast?
the birds chant melody on every bush,.
the snakes lie rolled in the cheerful sun,.
the green leaves quiver with the cooling wind,.
and make a chequbefored shadow on the ground.
she is everything to me
Madam, though Venus govern your desires,
Saturn is dominator over mine.
What signifies my deadly-standing eye,
My silence and my cloudy melancholy,
My fleece of woolly hair that now uncurls
Even as an adder when she doth unroll
To do some fatal execution?
No, madam, these are no venereal signs.
Vengeance is in my heart, death in my hand,
Blood and revenge are hammering in my head.
Hark, Tamora, the empress of my soul,
Which never hopes more heaven than rests in thee,
This is the day of doom for Bassianus;
His Philomel must lose her tongue today,
Thy sons make pillage of her chastity,
And wash their hands in Bassianus’ blood.
Seest thou this letter? Take it up, I pray thee,
And give the king this fatal-plotted scroll.
Now question me no more; we are espied;
Here comes a parcel of our hopeful booty,
Which dreads not yet their lives’ destruction.
Madam, though Venus govern your desires,.
Saturn is dominator over mine.
What signifies my deadly-standing eye,.
My silence and my cloudy melancholy,.
My fleece of woolly hair that now uncurls.
Even as an adder when she does unroll.
To do some fatal execution?
No, madam, these are no venereal signs.
madam, yough venus govern your desires,.
saturn is dominator over mine.
what signifies my deadly-standing eye,.
my silence and my cloudy melancholy,.
my fleece of woolly hair that now uncurls.
even as an adder when she does unroll.
i want revenge
Ah, my sweet Moor, sweeter to me than life!
Ah, my sweet Moor, sweeter to me than life!
ah, my sweet moor, sweeter to me than life!
ah
No more, great empress. Bassianus comes.
Be cross with him; and I’ll go fetch thy sons
To back thy quarrels, whatsoe’er they be.
No more, great empress. Bassianus comes.
Be cross with him; and I’ll go fetch your sons.
To back your quarrels, whatsoe’er they be.
no more, great empress. bassianus comes.
be cross with him; and i’ll go fetch your sons.
to back your quarrels, whatsoe’er they be.
no more
Who have we here? Rome’s royal empress,
Unfurnished of her well-beseeming troop?
Or is it Dian, habited like her,
Who hath abandoned her holy groves
To see the general hunting in this forest?
Who have we here? Rome’s royal empress,.
Unfurnished of her well-beseeming troop?
Or is it Dian, habited like her,.
Who has abandoned her holy groves.
To see the general hunting in this forest?
who have we hbefore? rome’s royal empress,.
unfurnished of her well-beseeming troop?
or is it dian, habited like her,.
who has abandoned her holy groves.
to see the general hunting in this forest?
rome comes first
Saucy controller of my private steps!
Had I the power that some say Dian had,
Thy temples should be planted presently
With horns, as was Actaeon’s; and the hounds
Should drive upon thy new-transformed limbs,
Unmannerly intruder as thou art.
Saucy controller of my private steps!
Had I the power that some say Dian had,.
your temples should be planted presently.
With horns, as was Actaeon’s; and the hounds.
Should drive upon your new-transformed limbs,.
Unmannerly intruder as you art.
saucy controller of my private steps!
had i the power that some say dian had,.
your temples should be planted presently.
with horns, as was actaeon’s; and the hounds.
should drive upon your new-transformed limbs,.
unmannerly intruder as you art.
saucy controller of my private steps! had i the power that s
Under your patience, gentle empress,
’Tis thought you have a goodly gift in horning,
And to be doubted that your Moor and you
Are singled forth to try experiments.
Jove shield your husband from his hounds today!
’Tis pity they should take him for a stag.
Under your patience, gentle empress,.
’Tis thought you have a goodly gift in horning,.
And to be doubted that your Moor and you.
Are singled forth to try experiments.
Jove shield your husband from his hounds today!
’Tis pity they should take him for a stag.
under your patience, gentle empress,.
’tis yought you have a goodly gift in horning,.
and to be doubted that your moor and you.
are singled forth to try experiments.
jove shield your husband from his hounds today!
’tis pity they should take him for a stag.
under your patience
Believe me, queen, your swarthy Cimmerian
Doth make your honour of his body’s hue,
Spotted, detested, and abominable.
Why are you sequestered from all your train,
Dismounted from your snow-white goodly steed,
And wandered hither to an obscure plot,
Accompanied but with a barbarous Moor,
If foul desire had not conducted you?
Believe me, queen, your swarthy Cimmerian.
does make your honour of his body’s hue,.
Spotted, detested, and abominable.
Why are you sequestered from all your train,.
Dismounted from your snow-white goodly steed,.
And wandered here to an obscure plot,.
Accompanied but with a barbarous Moor,.
If foul desire had not conducted you?
believe me, queen, your swaryour cimmerian.
does make your honour of his body’s hue,.
spotted, detested, and abominable.
why are you sequestbefored from all your train,.
dismounted from your snow-white goodly steed,.
and wandbefored hither to an obscure plot,.
believe me
And, being intercepted in your sport,
Great reason that my noble lord be rated
For sauciness. I pray you, let us hence,
And let her joy her raven-coloured love;
This valley fits the purpose passing well.
And, being intercepted in your sport,.
Great reason that my noble lord be rated.
For sauciness. I pray you, let us from here,.
And let her joy her raven-coloured love;.
This valley fits the purpose passing well.
and, being intercepted in your sport,.
great reason that my noble lord be rated.
for sauciness. i pray you, let us hence,.
and let her joy her raven-coloured love;.
this valley fits the purpose passing well.
she is everything to me
The king my brother shall have notice of this.
The king my brother shall have notice of this.
the king my brother shall haven'tice of this.
the king my brother shall have notice of this
Ay, for these slips have made him noted long.
Good king, to be so mightily abused!
Ay, for these slips have made him noted long.
Good king, to be so mightily abused!
ay, for these slips have made him noted long.
good king, to be so mightily abused!
ay
Why, I have patience to endure all this.
Why, I have patience to endure all this.
why, i have patience to endure all this.
why
How now, dear sovereign, and our gracious mother!
Why doth your highness look so pale and wan?
How now, dear sovereign, and our gracious mother!
Why does your highness look so pale and wan?
how now, dear sovbeforeign, and our gracious mother!
why does your highness look so pale and wan?
how now
The pit in 2-3 does more work per square inch of stage than almost any prop in Shakespeare. By the time the scene ends, it has been: a repository for Aaron's planted gold; Bassianus's grave; the hole Tamora describes (in her lie) as a supernatural terror pit of demons and snakes; the trap Quintus falls into trying to help his brother; a stage image that literalizes the entire play's theme of people being consumed by forces they don't understand.
Shakespeare didn't invent this from nothing — the pit appears in his classical sources, and the Ovid-inflected myth of the hellmouth was well established. But what's remarkable is how the same physical space accumulates meaning as the scene progresses. The pit begins as a hiding spot. Then it becomes a burial pit. Then it becomes the trap that catches the innocent sons.
And it does this without any authorial annotation — the audience just watches the same hole serve three different narrative functions and registers the accumulation. The pit is the scene's organizing center: everything moves toward it or away from it. By the time Saturninus arrives, the pit is evidence, grave, and trap simultaneously.
In productions, the challenge is always physical: how deep is it, how do the actors fall in, how does Quintus join Martius? The staging decisions matter enormously. A shallow pit undermines the dread. A pit that swallows actors completely changes the scene's visual logic.
Have I not reason, think you, to look pale?
These two have ticed me hither to this place,
A barren detested vale you see it is;
The trees, though summer, yet forlorn and lean,
Overcome with moss and baleful mistletoe.
Here never shines the sun, here nothing breeds,
Unless the nightly owl or fatal raven.
And when they showed me this abhorred pit,
They told me, here, at dead time of the night,
A thousand fiends, a thousand hissing snakes,
Ten thousand swelling toads, as many urchins,
Would make such fearful and confused cries
As any mortal body hearing it
Should straight fall mad, or else die suddenly.
No sooner had they told this hellish tale
But straight they told me they would bind me here
Unto the body of a dismal yew,
And leave me to this miserable death.
And then they called me foul adulteress,
Lascivious Goth, and all the bitterest terms
That ever ear did hear to such effect.
And had you not by wondrous fortune come,
This vengeance on me had they executed.
Revenge it, as you love your mother’s life,
Or be ye not henceforth called my children.
Have I not reason, think you, to look pale?
These two have ticed me here to this place,.
A barren detested vale you see it is;.
The trees, though summer, yet forlorn and lean,.
Overcome with moss and baleful mistletoe.
Here never shines the sun, here nothing breeds,.
Unless the nightly owl or fatal raven.
And when they showed me this abhorred pit,.
have i not reason, think you, to look pale?
these two have ticed me hither to this place,.
a barren detested vale you see it is;.
the trees, yough summer, yet forlorn and lean,.
overcome with moss and baleful mistletoe.
hbefore never shines the sun, hbefore nothing breeds,.
i want revenge
she is everything to me
This is a witness that I am thy son.
This is a witness that I am your son.
this is a witness that i am your son.
this is a witness that i am thy son
And this for me, struck home to show my strength.
And this for me, struck home to show my strength.
and this for me, struck home to show my strength.
and this for me
Ay, come, Semiramis, nay, barbarous Tamora,
For no name fits thy nature but thy own!
Ay, come, Semiramis, no, barbarous Tamora,.
For no name fits your nature but your own!
ay, come, semiramis, nay, barbarous tamora,.
for no name fits your nature but your own!
ay
Give me thy poniard; you shall know, my boys,
Your mother’s hand shall right your mother’s wrong.
Give me your poniard; you shall know, my boys,.
Your mother’s hand shall right your mother’s wrong.
give me your poniard; you shall know, my boys,.
your mother’s hand shall right your mother’s wrong.
you're shaming me
Stay, madam, here is more belongs to her.
First thrash the corn, then after burn the straw.
This minion stood upon her chastity,
Upon her nuptial vow, her loyalty,
And with that painted hope braves your mightiness;
And shall she carry this unto her grave?
Stay, madam, here is more belongs to her.
First thrash the corn, then after burn the straw.
This minion stood upon her chastity,.
Upon her nuptial vow, her loyalty,.
And with that painted hope braves your mightiness;.
And shall she carry this unto her grave?
stay, madam, hbefore is more belongs to her.
first thrash the corn, then after burn the straw.
this minion stood upon her chastity,.
upon her nuptial vow, her loyalty,.
and with that painted hope braves your mightiness;.
and shall she carry this unto her grave?
stay
And if she do, I would I were an eunuch.
Drag hence her husband to some secret hole,
And make his dead trunk pillow to our lust.
And if she do, I would I were an eunuch.
Drag from here her husband to some secret hole,.
And make his dead trunk pillow to our lust.
and if she do, i would i wbefore an eunuch.
drag hence her husband to some secret hole,.
and make his dead trunk pillow to our lust.
and if she do
But when ye have the honey ye desire,
Let not this wasp outlive, us both to sting.
But when ye have the honey ye desire,.
Let not this wasp outlive, us both to sting.
but when ye have the honey ye desire,.
let not this wasp outlive, us both to sting.
but when ye have the honey ye desire
I warrant you, madam, we will make that sure.
Come, mistress, now perforce we will enjoy
That nice-preserved honesty of yours.
I warrant you, madam, we will make that sure.
Come, mistress, now by force we will enjoy.
That nice-preserved honesty of yours.
i warrant you, madam, we will make that sure.
come, mistress, now perforce we will enjoy.
that nice-preserved honesty of yours.
i warrant you
O Tamora, thou bearest a woman’s face,—
O Tamora, you bearest a woman’s face,—.
o tamora, you bearest a woman’s face,—.
o tamora
I will not hear her speak; away with her!
I will not hear her speak; away with her!
i won't hear her speak; away with her!
i will not hear her speak; away with her!
Sweet lords, entreat her hear me but a word.
Sweet lords, entreat her hear me but a word.
sweet lords, entreat her hear me but a word.
sweet lords
Listen, fair madam: let it be your glory
To see her tears; but be your heart to them
As unrelenting flint to drops of rain.
Listen, fair madam: let it be your glory.
To see her tears; but be your heart to them.
As unrelenting flint to drops of rain.
listen, fair madam: let it be your glory.
to see her tears; but be your heart to them.
as unrelenting flint to drops of rain.
listen
When did the tiger’s young ones teach the dam?
O, do not learn her wrath; she taught it thee;
The milk thou suck’st from her did turn to marble;
Even at thy teat thou hadst thy tyranny.
Yet every mother breeds not sons alike.
When did the tiger’s young ones teach the dam?
O, do not learn her wrath; she taught it you;.
The milk you suck’st from her did turn to marble;.
Even at your teat you hadst your tyranny.
Yet every mother breeds not sons alike.
when did the tiger’s young ones teach the dam?
o, don't learn her wrath; she taught it you;.
the milk you suck’st from her did turn to marble;.
even at your teat you hadst your tyranny.
yet every mother breeds not sons alike.
when did the tiger’s young ones teach the dam? o
What, wouldst thou have me prove myself a bastard?
What, would you have me prove myself a bastard?
what, wouldst you have me prove myself a bastard?
what
’Tis true the raven doth not hatch a lark.
Yet have I heard—O, could I find it now!—
The lion, moved with pity, did endure
To have his princely paws pared all away.
Some say that ravens foster forlorn children,
The whilst their own birds famish in their nests.
O, be to me, though thy hard heart say no,
Nothing so kind, but something pitiful.
’Tis true the raven does not hatch a lark.
Yet have I heard—O, could I find it now!—.
The lion, moved with pity, did endure.
To have his princely paws pared all away.
Some say that ravens foster forlorn children,.
The whilst their own birds famish in their nests.
O, be to me, though your hard heart say no,.
Nothing so kind, but something pitiful.
’tis true the raven does not hatch a lark.
yet have i heard—o, could i find it now!—.
the lion, moved with pity, did endure.
to have his princely paws pared all away.
some say that ravens foster forlorn children,.
the whilst their own birds famish in their nests.
’tis true the raven doth not hatch a lark. yet have i heard—
I know not what it means; away with her!
I know not what it means; away with her!
i know not what it means; away with her!
i know not what it means; away with her!
The stretch from chunk 2-3-032 to 2-3-046 — Lavinia's successive pleas to Tamora — is one of the most difficult passages in all of Shakespeare to sit through in performance. It takes around fifteen stage minutes in a well-paced production. We watch Lavinia try every available argument: shared womanhood, the logic of mercy, her father's past kindness to Tamora, the mythology of compassionate lions and ravens. Every argument fails.
What makes this not just horror but theater is the specific calibration of Tamora's responses. She doesn't take pleasure in Lavinia's suffering with visible relish — she is mostly dismissive and businesslike. 'I will not hear her speak; away with her.' 'I know not what it means; away with her.' These lines are more chilling than sadism would be, because they suggest Lavinia's pain genuinely doesn't register. She is noise to be turned off.
Lavinia's final argument — 'for 'tis not life that I have begged so long; poor I was slain when Bassianus died' — reframes the entire begging sequence. She was never begging for her life. She was begging for death rather than rape. And the refusal of that request is the scene's final horror.
The passage is frequently cut in productions because audiences find it unbearable. But cutting it removes the scene's moral center: the play forces you to watch the full arc of failed mercy, and that watching is the work it is asking you to do.
O, let me teach thee! For my father’s sake,
That gave thee life when well he might have slain thee,
Be not obdurate, open thy deaf ears.
O, let me teach you! For my father’s sake,.
That gave you life when well he might have slain you,.
Be not obdurate, open your deaf ears.
o, let me teach you! for my father’s sake,.
that gave you life when well he might have slain you,.
be not obdurate, open your deaf ears.
o
Hadst thou in person ne’er offended me,
Even for his sake am I pitiless.
Remember, boys, I poured forth tears in vain
To save your brother from the sacrifice,
But fierce Andronicus would not relent.
Therefore away with her, and use her as you will;
The worse to her, the better loved of me.
Hadst you in person ne’er offended me,.
Even for his sake am I pitiless.
Remember, boys, I poured forth tears in vain.
To save your brother from the sacrifice,.
But fierce Andronicus would not relent.
Therefore away with her, and use her as you will;.
The worse to her, the better loved of me.
hadst you in person ne’er offended me,.
even for his sake am i pitiless.
remember, boys, i poured forth tears in vain.
to save your brother from the sacrifice,.
but fierce andronicus would not relent.
thbeforefore away with her, and use her as you will;.
she is everything to me
O Tamora, be called a gentle queen,
And with thine own hands kill me in this place!
For ’tis not life that I have begged so long;
Poor I was slain when Bassianus died.
O Tamora, be called a gentle queen,.
And with yours own hands kill me in this place!
For ’tis not life that I have begged so long;.
Poor I was slain when Bassianus died.
o tamora, be called a gentle queen,.
and with yours own hands kill me in this place!
for ’tisn't life that i have begged so long;.
poor i was slain when bassianus died.
o tamora
What begg’st thou, then? Fond woman, let me go.
What begg’st you, then? Fond woman, let me go.
what begg’st you, then? fond woman, let me go.
what begg’st thou
’Tis present death I beg; and one thing more
That womanhood denies my tongue to tell.
O, keep me from their worse than killing lust,
And tumble me into some loathsome pit,
Where never man’s eye may behold my body.
Do this, and be a charitable murderer.
’Tis present death I beg; and one thing more.
That womanhood denies my tongue to tell.
O, keep me from their worse than killing lust,.
And tumble me into some loathsome pit,.
Where never man’s eye may behold my body.
Do this, and be a charitable murderer.
’tis present death i beg; and one thing more.
that womanhood denies my tongue to tell.
o, keep me from their worse than killing lust,.
and tumble me into some loathsome pit,.
whbefore never man’s eye may behold my body.
do this, and be a charitable murdbeforer.
’tis present death i beg; and one thing more that womanhood
So should I rob my sweet sons of their fee.
No, let them satisfy their lust on thee.
So should I rob my sweet sons of their fee.
No, let them satisfy their lust on you.
so should i rob my sweet sons of their fee.
no, let them satisfy their lust on you.
so should i rob my sweet sons of their fee. no
Away, for thou hast stayed us here too long.
Away, for you have stayed us here too long.
away, for you hast stayed us hbefore too long.
away
No grace, no womanhood? Ah, beastly creature,
The blot and enemy to our general name!
Confusion fall—
No grace, no womanhood? Ah, beastly creature,.
The blot and enemy to our general name!
Confusion fall—.
no grace, no womanhood? ah, beastly creature,.
the blot and enemy to our general name!
confusion fall—.
no grace
Nay, then I’ll stop your mouth. Bring thou her husband.
This is the hole where Aaron bid us hide him.
no, then I’ll stop your mouth. Bring you her husband.
This is the hole where Aaron bid us hide him.
nay, then i’ll stop your mouth. bring you her husband.
this is the hole whbefore aaron bid us hide him.
nay
Farewell, my sons. See that you make her sure.
Ne’er let my heart know merry cheer indeed
Till all the Andronici be made away.
Now will I hence to seek my lovely Moor,
And let my spleenful sons this trull deflower.
Farewell, my sons. See that you make her sure.
Ne’er let my heart know merry cheer indeed.
Till all the Andronici be made away.
Now will I from here to seek my lovely Moor,.
And let my spleenful sons this trull deflower.
farewell, my sons. see that you make her sure.
ne’er let my heart know merry cheer indeed.
till all the andronici be made away.
now will i hence to seek my lovely moor,.
and let my spleenful sons this trull deflower.
she is everything to me
Come on, my lords, the better foot before.
Straight will I bring you to the loathsome pit
Where I espied the panther fast asleep.
Come on, my lords, the better foot before.
Straight will I bring you to the loathsome pit.
Where I espied the panther fast asleep.
come on, my lords, the better foot before.
straight will i bring you to the loathsome pit.
whbefore i espied the panther fast asleep.
come on
My sight is very dull, whate’er it bodes.
My sight is very dull, whate’er it bodes.
my sight is very dull, whate’er it bodes.
my sight is very dull
And mine, I promise you. Were it not for shame,
Well could I leave our sport to sleep awhile.
And mine, I promise you. Were it not for shame,.
Well could I leave our sport to sleep awhile.
and mine, i promise you. wbefore it not for shame,.
well could i leave our sport to sleep awhile.
and mine
What, art thou fallen? What subtle hole is this,
Whose mouth is covered with rude-growing briers,
Upon whose leaves are drops of new-shed blood
As fresh as morning dew distilled on flowers?
A very fatal place it seems to me.
Speak, brother, hast thou hurt thee with the fall?
What, art you fallen? What subtle hole is this,.
Whose mouth is covered with rude-growing briers,.
Upon whose leaves are drops of new-shed blood.
As fresh as morning dew distilled on flowers?
A very fatal place it seems to me.
Speak, brother, have you hurt you with the fall?
what, art you fallen? what subtle hole is this,.
whose mouth is covbefored with rude-growing briers,.
upon whose leaves are drops of new-shed blood.
as fresh as morning dew distilled on flowers?
a very fatal place it seems to me.
speak, brother, hast you hurt you with the fall?
what
O brother, with the dismall’st object hurt
That ever eye with sight made heart lament!
O brother, with the dismall’st object hurt.
That ever eye with sight made heart lament!
o brother, with the dismall’st object hurt.
that ever eye with sight made heart lament!
o brother
Aaron's plot in 2-3 is worth admiring as pure craft — which is uncomfortable to say, but is the response Shakespeare seems to intend. The frame-up has four components that corroborate each other:
1. The forged letter: implicating Titus's sons in a murder plan 2. The buried gold: payable evidence of the contracted murder 3. The gold's location: under the exact tree named in the letter 4. The sons in the pit: discovered at the murder scene
No single element could convict without the others. Together they constitute an airtight case. Aaron didn't just plant evidence — he planted an evidence ecosystem.
What makes this additionally disturbing is that it was all prepared before the scene began. When Aaron enters carrying the gold in 2-3-001, the letter has already been forged and given to Tamora. The murders happen because the frame-up exists. Aaron didn't react to events; he designed a scenario and then manufactured the events to fit it.
This is the play's most precise articulation of what Aaron represents: not reactive evil but constructive evil. He builds atrocities the way an architect builds houses. His pride in his own craftsmanship — which will be explicit in 5-1 — begins here.
That he thereby may have a likely guess
How these were they that made away his brother.
That he thereby may have a likely guess.
How these were they that made away his brother.
that he thbeforeby may have a likely guess.
how these wbefore they that made away his brother.
that he thereby may have a likely guess how these were they
Why dost not comfort me, and help me out
From this unhallowed and blood-stained hole?
Why do not comfort me, and help me out.
From this unhallowed and blood-stained hole?
why dost not comfort me, and help me out.
from this unhallowed and blood-stained hole?
someone help me
I am surprised with an uncouth fear;
A chilling sweat o’er-runs my trembling joints.
My heart suspects more than mine eye can see.
I am surprised with an uncouth fear;.
A chilling sweat o’er-runs my trembling joints.
My heart suspects more than mine eye can see.
i am surprised with an uncouth fear;.
a chilling sweat o’er-runs my trembling joints.
my heart suspects more than mine eye can see.
i am surprised with an uncouth fear; a chilling sweat o’er-r
To prove thou hast a true-divining heart,
Aaron and thou look down into this den,
And see a fearful sight of blood and death.
To prove you have a true-divining heart,.
Aaron and you look down into this den,.
And see a fearful sight of blood and death.
to prove you hast a true-divining heart,.
aaron and you look down into this den,.
and see a fearful sight of blood and death.
to prove thou hast a true-divining heart
Aaron is gone, and my compassionate heart
Will not permit mine eyes once to behold
The thing whereat it trembles by surmise.
O, tell me who it is; for ne’er till now
Was I a child to fear I know not what.
Aaron is gone, and my compassionate heart.
Will not permit mine eyes once to behold.
The thing whereat it trembles by surmise.
O, tell me who it is; for ne’er till now.
Was I a child to fear I know not what.
aaron is gone, and my compassionate heart.
won't permit mine eyes once to behold.
the thing whbeforeat it trembles by surmise.
o, tell me who it is; for ne’er till now.
was i a child to fear i know not what.
aaron is gone
Lord Bassianus lies berayed in blood,
All on a heap, like to a slaughtered lamb,
In this detested, dark, blood-drinking pit.
Lord Bassianus lies berayed in blood,.
All on a heap, like to a slaughtered lamb,.
In this detested, dark, blood-drinking pit.
lord bassianus lies berayed in blood,.
all on a heap, like to a slaughtbefored lamb,.
in this detested, dark, blood-drinking pit.
lord bassianus lies berayed in blood
If it be dark, how dost thou know ’tis he?
If it be dark, how do you know ’tis he?
if it be dark, how dost you know ’tis he?
if it be dark
Upon his bloody finger he doth wear
A precious ring that lightens all the hole,
Which, like a taper in some monument,
Doth shine upon the dead man’s earthy cheeks,
And shows the ragged entrails of the pit.
So pale did shine the moon on Pyramus
When he by night lay bathed in maiden blood.
O brother, help me with thy fainting hand,
If fear hath made thee faint, as me it hath,
Out of this fell devouring receptacle,
As hateful as Cocytus’ misty mouth.
Upon his bloody finger he does wear.
A precious ring that lightens all the hole,.
Which, like a taper in some monument,.
does shine upon the dead man’s earthy cheeks,.
And shows the ragged entrails of the pit.
So pale did shine the moon on Pyramus.
When he by night lay bathed in maiden blood.
O brother, help me with your fainting hand,.
upon his bloody finger he does wear.
a precious ring that lightens all the hole,.
which, like a taper in some monument,.
does shine upon the dead man’s earyour cheeks,.
and shows the ragged entrails of the pit.
so pale did shine the moon on pyramus.
someone help me
Reach me thy hand, that I may help thee out,
Or, wanting strength to do thee so much good,
I may be plucked into the swallowing womb
Of this deep pit, poor Bassianus’ grave.
I have no strength to pluck thee to the brink.
Reach me your hand, that I may help you out,.
Or, wanting strength to do you so much good,.
I may be plucked into the swallowing womb.
Of this deep pit, poor Bassianus’ grave.
I have no strength to pluck you to the brink.
reach me your hand, that i may help you out,.
or, wanting strength to do you so much good,.
i may be plucked into the swallowing womb.
of this deep pit, poor bassianus’ grave.
i have no strength to pluck you to the brink.
someone help me
Nor I no strength to climb without thy help.
Nor I no strength to climb without your help.
nor i no strength to climb wiyout your help.
someone help me
Thy hand once more; I will not loose again,
Till thou art here aloft, or I below.
Thou canst not come to me. I come to thee.
your hand once more; I will not loose again,.
Till you art here aloft, or I below.
you canst not come to me. I come to you.
your hand once more; i won't loose again,.
till you art hbefore aloft, or i below.
you canst not come to me. i come to you.
thy hand once more; i will not loose again
Along with me! I’ll see what hole is here,
And what he is that now is leapt into it.
Say, who art thou that lately didst descend
Into this gaping hollow of the earth?
Along with me! I’ll see what hole is here,.
And what he is that now is leapt into it.
Say, who art you that lately did descend.
Into this gaping hollow of the earth?
along with me! i’ll see what hole is hbefore,.
and what he is that now is leapt into it.
say, who art you that lately didst descend.
into this gaping hollow of the earth?
along with me! i’ll see what hole is here
The unhappy sons of old Andronicus,
Brought hither in a most unlucky hour,
To find thy brother Bassianus dead.
The unhappy sons of old Andronicus,.
Brought here in a most unlucky hour,.
To find your brother Bassianus dead.
the unhappy sons of old andronicus,.
brought hither in a most unlucky hour,.
to find your brother bassianus dead.
the unhappy sons of old andronicus
My brother dead! I know thou dost but jest.
He and his lady both are at the lodge
Upon the north side of this pleasant chase;
’Tis not an hour since I left them there.
My brother dead! I know you do but jest.
He and his lady both are at the lodge.
Upon the north side of this pleasant chase;.
’Tis not an hour since I left them there.
my brother dead! i know you dost but jest.
he and his lady both are at the lodge.
upon the north side of this pleasant chase;.
’tisn't an hour since i left them thbefore.
my brother dead! i know thou dost but jest
We know not where you left them all alive;
But, out, alas, here have we found him dead.
We know not where you left them all alive;.
But, out, alas, here have we found him dead.
we know not whbefore you left them all alive;.
but, out, alas, hbefore have we found him dead.
we know not where you left them all alive; but
Watch what Tamora does with the forest in this scene. In her opening speech (2-3-005), she describes it in the full pastoral mode: birds singing on every bush, snakes basking in sun, dappled shade, the cool wind in the leaves. She's invoking the locus amoenus — the 'pleasant place' that classical literature from Virgil onward associated with love, rest, and renewal.
Then twenty minutes later (2-3-021), she describes the same forest to her sons as a hellmouth: barren, sunless, full of owls and ravens, populated by the sounds of fiends and toads at midnight. She transforms the pastoral into the infernal using the same setting.
This double vision is structural, not accidental. The forest is both things — it is genuinely a place of beauty (Tamora's pastoral speech is sincere; Aaron just won't go with her) and genuinely a place of horror (the murders and rape happen there). The play refuses to choose. Shakespeare's forests — from the woods of A Midsummer Night's Dream to the Forest of Arden in As You Like It — always contain this ambiguity: they are spaces where normal social order doesn't apply, which means they can be either liberating or lethal.
Titus's forest is both simultaneously, which is what makes it the right setting for the scene where everything falls apart.
Where is my lord the king?
Where is my lord the king?
whbefore is my lord the king?
where is my lord the king?
Here, Tamora; though grieved with killing grief.
Here, Tamora; though grieved with killing grief.
hbefore, tamora; yough grieved with killing grief.
here
Where is thy brother Bassianus?
Where is your brother Bassianus?
whbefore is your brother bassianus?
where is thy brother bassianus?
Now to the bottom dost thou search my wound.
Poor Bassianus here lies murdered.
Now to the bottom do you search my wound.
Poor Bassianus here lies murdered.
now to the bottom dost you search my wound.
poor bassianus hbefore lies murdbefored.
now to the bottom dost thou search my wound
Then all too late I bring this fatal writ,
The complot of this timeless tragedy;
And wonder greatly that man’s face can fold
In pleasing smiles such murderous tyranny.
Then all too late I bring this fatal writ,.
The complot of this timeless tragedy;.
And wonder greatly that man’s face can fold.
In pleasing smiles such murderous tyranny.
then all too late i bring this fatal writ,.
the complot of this timeless tragedy;.
and wonder greatly that man’s face can fold.
in pleasing smiles such murderous tyranny.
then all too late i bring this fatal writ
Sweet huntsman, Bassianus ’tis we mean,
Do thou so much as dig the grave for him;
Thou know’st our meaning. Look for thy reward
Among the nettles at the elder-tree
Which overshades the mouth of that same pit
Where we decreed to bury Bassianus.
Do this, and purchase us thy lasting friends._
O Tamora, was ever heard the like?
This is the pit, and this the elder-tree.
Look, sirs, if you can find the huntsman out
That should have murdered Bassianus here.
Sweet huntsman, Bassianus ’tis we mean,.
Do you so much as dig the grave for him;.
you know’st our meaning. Look for your reward.
Among the nettles at the elder-tree.
Which overshades the mouth of that same pit.
Where we decreed to bury Bassianus.
Do this, and purchase us your lasting friends._.
O Tamora, was ever heard the like?
sweet huntsman, bassianus ’tis we mean,.
do you so much as dig the grave for him;.
you know’st our meaning. look for your reward.
among the nettles at the elder-tree.
which overshades the mouth of that same pit.
whbefore we decreed to bury bassianus.
sweet huntsman
My gracious lord, here is the bag of gold.
My gracious lord, here is the bag of gold.
my gracious lord, hbefore is the bag of gold.
my gracious lord
Have here bereft my brother of his life.
Sirs, drag them from the pit unto the prison.
There let them bide until we have devised
Some never-heard-of torturing pain for them.
Have here bereft my brother of his life.
Sirs, drag them from the pit unto the prison.
There let them bide until we have devised.
Some never-heard-of torturing pain for them.
have hbefore bbeforeft my brother of his life.
sirs, drag them from the pit unto the prison.
thbefore let them bide until we have devised.
some never-heard-of torturing pain for them.
have here bereft my brother of his life. sirs
What, are they in this pit? O wondrous thing!
How easily murder is discovered!
What, are they in this pit? O wondrous thing!
How easily murder is discovered!
what, are they in this pit? o wondrous thing!
how easily murder is discovbefored!
what
High emperor, upon my feeble knee
I beg this boon, with tears not lightly shed,
That this fell fault of my accursed sons,
Accursed if the fault be proved in them—
High emperor, upon my feeble knee.
I beg this boon, with tears not lightly shed,.
That this fell fault of my accursed sons,.
Accursed if the fault be proved in them—.
high emperor, upon my feeble knee.
i beg this boon, with tears not lightly shed,.
that this fell fault of my accursed sons,.
accursed if the fault be proved in them—.
high emperor
If it be proved! You see it is apparent.
Who found this letter? Tamora, was it you?
If it be proved! You see it is apparent.
Who found this letter? Tamora, was it you?
if it be proved! you see it is apparent.
who found this letter? tamora, was it you?
if it be proved! you see it is apparent. who found this lett
Andronicus himself did take it up.
Andronicus himself did take it up.
andronicus himself did take it up.
andronicus himself did take it up
I did, my lord, yet let me be their bail;
For by my fathers’ reverend tomb I vow
They shall be ready at your highness’ will
To answer their suspicion with their lives.
I did, my lord, yet let me be their bail;.
For by my fathers’ reverend tomb I vow.
They shall be ready at your highness’ will.
To answer their suspicion with their lives.
i did, my lord, yet let me be their bail;.
for by my fathers’ revbeforend tomb i vow.
they shall be ready at your highness’ will.
to answer their suspicion with their lives.
i did
Thou shalt not bail them. See thou follow me.
Some bring the murdered body, some the murderers.
Let them not speak a word; the guilt is plain;
For, by my soul, were there worse end than death,
That end upon them should be executed.
you shall not bail them. See you follow me.
Some bring the murdered body, some the murderers.
Let them not speak a word; the guilt is plain;.
For, by my soul, were there worse end than death,.
That end upon them should be executed.
you shalt not bail them. see you follow me.
some bring the murdbefored body, some the murdbeforers.
let them not speak a word; the guilt is plain;.
for, by my soul, wbefore thbefore worse end than death,.
that end upon them should be executed.
thou shalt not bail them. see thou follow me. some bring the
Andronicus, I will entreat the king.
Fear not thy sons; they shall do well enough.
Andronicus, I will entreat the king.
Fear not your sons; they shall do well enough.
andronicus, i will entreat the king.
fear not your sons; they shall do well enough.
andronicus
Come, Lucius, come; stay not to talk with them.
Come, Lucius, come; stay not to talk with them.
come, lucius, come; stay not to talk with them.
come
The Reckoning
This is the scene where the whole play turns into catastrophe — and it does so in three overlapping horror movements: the murder of Bassianus, Lavinia's unbearable pleas to Tamora, and the clinical efficiency of Aaron's frame-up. What the audience is left feeling is something like vertigo: every single thing has gone wrong simultaneously, through malice so perfectly organized that virtue couldn't have stopped it. Titus's sons are innocent and arrested. Lavinia is destroyed. And Aaron has already walked away.
If this happened today…
Imagine someone planting fabricated evidence in a colleague's desk before calling in an anonymous tip to HR — then strolling out of the building while the colleague's things are being boxed up. Now add: that colleague's spouse was murdered in the same morning, and a third party was assaulted and silenced. And the person who set all this in motion did it because they were passed over for a promotion two years ago. That's 2-3. The bureaucratic machinery of Roman justice becomes the final weapon in a plan that began in Act 1, Scene 1.