Manual Substitution

This essay reconceives Titus Andronicus as a drama of media design under civic collapse. Rather than reading mutilation as a bare emblem or provocation to revenge, this article argues that the play builds an alternative infrastructure of truth upon Rome's manual and institutional channels of failure. I call this pattern manual substitution: as hands are severed, tools, bodies, books and rituals assume the hand's work, encoding, storing, circulating and seeking to compel uptake of knowledge the state refuses to hear. Lavinia's ‘alphabet’ becomes a deliberately redundant inscription; Marcus demonstrates handless writing; Titus moves from sand to metal and finally to the kitchen, where blood, bone, paste and oven function as a scriptorium whose outcome the court finds difficult to ignore. What can look like humanist ornamentation also functions, in my reading, as survival grammar: Ovid supplies a case template for naming, and Horace functions as a carrier that securely labels and moves accusation through perilous hands. The result is a handless public sphere improvised by a family when a forum is not possible. Weaving together media archaeology of the play's text, the essay reads Titus Andronicus as a sustained investigation of how truth can travel when the hand is missing

Comedy · Drama · Emblem · False accusation · Humanism · Public sphere · Weaving · Classical Antiquity Studies · Shakespeare, Adaptation, and Literary Criticism · Visual Culture and Art Theory

• Titus Andronicus and the wicked streets of Rome

  Open Access•Lisa Hopkins•Cahiers Élisabéthains A Journal…•2024

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