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Consuming Mother/Nurturing Father-The Art of Cooking in Andromcus

Shinji YAMAMOTO

But? How if that fly had a father, brother? Whereof their mother daintily hath fed, How would he hang his slender gilded wings Eating the flesh that she herself hath bred

And buzz lamenting dirges in the air! Tis true, 'tis true; witness my knife's sharp point. (Titus Andronicus, III.2.60-2) (V. 3. 59-62) where are the mothers in Titus Andronicus? To begin this Then Titus promptly stabs the Empress to break up也e paper by asking a question about a marginal aspect of the banquet. The main purpose of Ti山s's cannibalistic banquet text is appropriate, for this is血e kind of question to which is a blood in which Titus performs as a cook in I constantly return in examining the role of Shakespearean order to make Tamora consume her two sons, Demetrius banquets prepared, and sometimes served, by nurturing and Chiron, who murdered Titus s sons and raped his men. The sentences quoted above are controversial in daughter. His sons'deams make Titus perceive血at `Rome two ways: as regards the textual interpretation of the is but a wilderness of tigers'(III.1.53), or `devourers (56), phrases, `a血ther, bro血er'and `dirges', and more broadly but the most important aspect of the tragic movement and substantially, in connection with the nature and towards the cannibalistic banquet is its reversal of derivation of this whole scene of banqueting. First, the conventional gender roles. Shakespeare associates original phrases for `a father, brother'and `dirges'in Fl Tamora's otherness, both in race and gender, with the self- are respectively a `father and mother'and `doings'. In consuming `wilderness'of nature, which devours its own substituting `brother'for `mother', the Oxford and the offspring. The demonised image of Tamora recalls the Norton edition (derived from the Oxford) are unique, famous speech by another evil woman, Lady : most other editors choosing to follow the Folio. This emendation seems reasonable to me because the editors' ... I have given suck, and know intention was to `[keep] the emphasis appropriately on How tender 'tis to love the babe that milks me. fathers'. In Titus Andronicus mother-figures are carefully I would, while it was smiling in my face, removed血蝣om the main plot except for Tamora, mother Have plucked my nipple from his boneless gums of three Gothic sons and one black baby. However, And dashed也e brains out, had I so sworn the maternal aspect of Tamora is preserved only to be As you have done to也is. demonised allegorically and symbolically as `Revenge', (Macbeth, 1.7.54-9). mother of 'Rape'and 'Murder'(V.2.40-6). The horrifying image of the self-consuming mother is embodied in the This symbolic death of the nurturing mother recurs in devouring image of仇e womb as tomb. Shakespearean such as Titus Andronicus and My aim in this paper is to show how dangerous Macbeth, which stage bloody banquets devised and served banqueting practice becomes in relation to the trope of up by nurturing men as a way of wreaking vengeance on body parts in Titus Andronicus. I shall start my exploration na山re and mo也er丘gures. of banqueting practices by examining the marginality Noting this kind of symbolic structure helps one to read and ambiguity of the following point: Titus's ritualistic the text of Titus Andronicus in terms of gender. It would banquets in relation to everyday practice and the art be appropriate to let Titus, not the editors, remove the of cooking. The distinction between the terms `feast' `mother'by allowing `he'011.2.61) , the father, to lament the and `banquet'will prove to be not only blurred but also deam of his innocent child alone. Admi仕ing the advantage synthesised to recreate an ideological effect of patriarchy. of the emendation by the Oxford editors, the New Arden editor raises仇e question of whe血er it is `not high-handed 1 for editors to erase the mother on the basis of such a

In Act v, Scene 3, when Saturninus tells Titus to bring large conjecture about the printers'incompetence. His in Chiron and Demetrius as those who `ravished her suggestion is to `emend to也e rhetorically and metrically [] and cut away her tongue'(56), Titus answers stronger "a father and a mother'". What is implied in this scornfully: emendation is血e idea ofTihs as a kind of hermaphrodite,

or transgerldered man, which recalls the invocatioll 0f Why,也ere仇ey are, bo血baked in仇is pie, 's inner `mother'in his `Hysterica passio'(Ql

-85- 7.21-2/FI II.2.225-6). Locating this strong feeling `at the scene, almough no editor alludes to its relationship tome core of ', the editor argues that `in becoming a emergence of another kind of vogue-for the banquet mother as well as a father Titus becomes a human being'. setting. Apart from the traditional textual controversy This brief textual analysis of III.2, a scene absent血･om over Act III, Scene 2, one needs to take into account the the and initially printed in Fl, gives us an insight problem of spatial practices and body politics. The point into what an important role a tiny part of仇e text plays in is to see the banquet not only as a dramatic convention the interpretation of仇e whole play as well as the character but also as part of social and cultural practices m terms of Titus. Whether to adopt `a father, brother', `a father of `playing space'. So far, Shakespearean scholars have and mother'or `a father and a mother'does not in fact not treated this theme of banquets in Titus Andronicus make as much difference to血e reading of the play as one seriously enough血-om the viewpoints mat I have proposed might think. The printer might have thought that `father above. This is partly because their concerns are not and mother'would be `a more natural combination'than focussed on也e spatial, material, and marginal aspects of 'father, brother', as the Arden editor says. What is more banqueting practices represented in the play, but rather important for our purpose is to acknowledge not only也e on me symbolic structure combining words and actions in historicity but also the materiality of the text in relation the banquet scenes. It would also be fair to say that Titus to the cultural and social practices of banqueting. There Andronicus has been regarded as `a marginal play'in many is a point仇at has to be made here: this scene constitutes respects, compared with a major play like Macbeth, and as part of an interconnected pair, with the bloody banquet especially `concerned in its structure and characterization in the final act giving us a clue to the role and meaning of with marginality and the threat it poses to political 仇e banquets in the play. This scene, possibly used for a identity'. One needs to look at the materiality of the touring performance, includes a clue for understanding banquet in order to reconsider the banquet scenes not just the emblematic aspect of the play in relation to banqueting as symbolic but as an intersectional arena of the symbolic practice. and仇e material boundaries between us and them, home

¶le two banquet scenes dramatised in Titus Andronicus and abroad, private and public, and inside and outside, and are a humble family banquet in Act III, Scene 2, and a in terms of gender, race, class and nationality. more public banquet in Act V, Scene 3. These banquets It becomes necessary to be aware of the `dramaturgy look similar to the two meals in Macbeth, but one should of the margins', to borrow Steven Mullaney's phrase, note that each play foregrounds a different aspect of the which in the present context means an exploration of the term `banquet'. ¶ley are similar in that in both plays the moment when one culhre loses its identify in the act of term `banquet'suggests the modern sense of a stately devouring itself. In other words, this is a dramaturgy feast, rather than just a 'light repast'. They are different in which designates an act of encountering the Other at terms of the materiality in which the banqueting practice the very margins-in other words, the `unstructured of everyday life is supposed to be textually embedded. areas of society'. Titus Andronicus centres its images of The function of the two banquets in Macbeth (1.7, III. dismemberment on the ritualistic practices of the banquet, 4) is more symbolic than material, foregrounding the which is particularly significant because of its uneasy dramatic structure which discloses the vulnerable image of position in血e aes也etics of Elizabe也an culture. authority in chaos: the weakness of laws of hospitality that Let us now return to the banquet scenes in Titus construct and support仇e community and its social order Andronicus, which indicate the way in which Titus becomes visible in the form of tragedy. The two banquets and his family fall into a marginal state very similar in Titus Andronicus, however, demand a more complex to the ambiguous position and indefinable status that approach to血e text and context of the play because of Mary Douglas describes by taking two examples: the the multiple elements constituting essential parts of血ese man who has crossed the social boundary and `the scenes-for example, me concepts and practices of diet, unborn child'. Talking about the crucial necessity of the cookery, emblem, masque and cannibalism as ingredients `ritual play on articulate and inarticulate forms for the of a revengeful banquet. Therefore, we need to understand understanding of pollution, Douglas first notes 'a double these banquet scenes in the broader context of early play on inarticulateness': `First there is a venture mto modern culhre and social practices. the disordered regions of the mind. Second there is the The first scene (III.2) needs careful examination, for venture beyond the confines of society. The man who it is an `additional scene', first printed in the comes back血-om these inaccessible regions brings with (1623), but generally considered to have been wri仕en in him a power not available to those who have stayed in the the lost prompt-book for performance. The vogue of the control of themselves and of society'. `Formlessness'is period for mad scenes would have required this additional credited with two types of 'powers', 'dangerous'and 'good'.

86- Concerned wi仇`beliefs about persons in a marginal state , and in the country houses of the Elizabethans. Leaving the second example血at Douglas explores to understand aside the possibility that it was written for a performance the 'play on form and formlessness'in terms of the 'rituals by a touring company, the first banquet scene in Act III, of society'is 'the unborn child', whose present and future Scene 2 might have been well received by the readers positions are `ambiguous. As `no one can say what sex it of the First Folio when it was丘rst printed in 1623. The will have or whether it will survive the hazards of infancy', of the banquet had already been so popular on the

`the unborn child'is, Douglas writes, `treated as both Jacobean stage by the 1620s that editors of Fl had good vulnerable and dangerous'. reason to restore the first banquet scene dropped from the

John Gillies suggests that A∬on's child is `a living sign earlier Quartos to a仕ract its readers. of the pollution of the Roman body-politic , at least from At the end of Act V, Scene 2, Titus declares血at he will the perspective of the Roman characters.1 The child is `playa depicted by me Nurse as me `Empress's shame and stately of me most typical male Shakespearean characters keen

Rome's disgrace', a 'joyless, dismal, black, and sorrowful on taking over the role of food-provider in the household. issue , `the babe as loathsome as a toad'(IV.2.60, 66-7); Considering such nurturing practice as undertaken by and by Marcus as `the issue of an irreligious moor,/ men as part of血e patriarchal project of taking control of Chief architect and plotter of these woes', which is household business, as Ann Christensen claims, it is not `unspeakable, past patience,/ Or more血an any living man difficult to find a similar kind of project in Shakespeare's could bear'(V.3.120-21, 125-26). Concerned with Aaron plays in various genres: tragedies, comedies, histories, and his child's paradoxical relationship to the classical Roman plays and romances. For example, in Romeo and and Shakespearean representations of the barbarian, Juliet, Old Capulet insists on preparing the nuptial feast on Gillies's following brief summary will help us to explore the eve of his daughter's marriage: Til play the housewife the complex meaning of Shakespeare's representation of for this once'{Romeo & Juliet, IV.2.43). Prince Hal and 血e cannibal banquet in a broader context: Poins `tp】ut on two leamern jerkins and aprons, and wait upon him [Falstaff】 at his table like drawers'in order to the paradox of the moor in Titus Andronicus is a catch him in the act of fraud (2H4, II.2.149-50). In The

measure bom of Shakespeare's indebtedness to血e Taming of the Shrew, it is part of Petruccio s strategy for classical idea of the barbarian, and of his invention taming his headstrong wife to `dress [Katherine's] meat of a more problematic tropics of barbarism. Aaron [him】self and bring it 【her]'(IV.3.40). However, in this begins by representing all the viciousness and case, she is given li杖le chance of eating me dish, because pollutiveness of血e classical barbarian writ large (he his hidden purpose is not to nourish her but to starve

is precisely `a cra血ier '). Yet血e very excess of her. A similar occurrence of this feeding practice is his outrageousness-his begetting of a `blackamoor also found in and . Knowing child'upon the Roman empress-leads to a rebirth himself betrayed by his friends, Timon orders his steward of just those familial and civic bonds which he has to invite them to a mock feast of `steaming water and

so spectacularly violated. Humanly appealing yet `stones'(III.7.77): `My cook and I'll provide'(III.5.14). In inevitably `confusing , all Shakespearean The Tempest, a magic banquet is sllatched away by a harpy

inherit Aaron's paradox. ' under Prospero's `instruction', before his shipwrecked captives begin to eat (III.3.85). Cardinal Wolsey knows 2 how to manage a great feast perfectly when he has `the

At the beginning of Act III, Scene 2, a table laid with banquet ready/ I'th'privy chamber'(All Is True [Henry banqueting dishes is brought on. The nature of this WII], 1.4.101-2). banquet clearly lies in Titus's statement as he starts the Christensen examines the problem of `nurturing men ritual banquet of vengeance: 'So, so, now sit, and look you on the Shakespearean stage in 'the context of the shifting eat no more/ Than will preserve just so much strength in location of domestic authority in early modern English us/ As will revenge these bitter woes of ours'(III. 2. 1-3). society'. Criticising psychoanalytic readings of nurturing

The private and rather stoic nature of the丘rst banquet which are largely focused orュ Shakespeare's relatiorlS tO scene generates a conspicuous contrast with the more the maternal, she asserts mat `the "politics of feeding" is public and extravagant banquet of Act V, Scene 3, which grounded not only in "也e maternal", but in the domestic

ends in bloody cannibalism and murder. ′Hie insertion of a sphere itself'. She also points out仇e problems仇at feminist quasi-masque scene preceding也e丘nal scene suggests the critics have with `the use of "sentimental stereotypes of collventional connectioli between masques and banquets the mother as the natural source of nourishment and in the tradition of entertainment practised both at court nur山re"'. In order to solve仇ese problems, Chnstensen

-87- further suggests placing 'the matrix of gender, nurture, noblemen in Titus Andronicus reflects the everyday life of family, and power in the historically sped五c category of Shakespeare's England. To answer this question in relation household government'. Her argument is interesting in to Titus's art and practice of banqueting, the critical 仇at she considers nurturing men like Tihs as a dramatic method that I adopt here is to focus on the everyday signal of a `deviation from the cultural norm'in which `both aspects of Elizabethan culture and society, as Patricia literal and metaphoric forms of nurture are traditionally Fumerton advocates in her `Introduction to Renaissance associated with women'. Shakespeare's placing of Culture and the Everyday. As far as banqueting practices `male characters in the nurturing position', according to are concerned, the play provides a curious mixture of Christensen, reflects `the ambivalent roles of women and classical sources and contemporary cultural practices in men within me "private" household'. In short, the home producing one of the most monstrous spectacles on the is dramatised in Shakespearean plays as a contested Shakespearean stage. This is related to the emblematic space when seen from the viewpoints of 'gender, nurture, aspect that Shakespeare introduced into the play. This family, and power'. Her effort to problematise the aspect was derived from mainly classical writers such gender relationship in a private space such as the home as , creating tremendous theatrical effects through contributes to the reinterpretation of Tihs's role not only tableaux vivants. in也e genealogy of `nurturing men'of Shakespeare plays, In Shakespeare's plays, `feeding'and `nurture'function but also in the context of the household economy, for it is both literally and metaphorically. The two banquet this contested space at仇e margins of仇e body and culture scenes in Titus Andronicus can be seen therefore as an that I am exploring in terms of banqueting practices. instance of `the literal service and consumption of food ,

One needs to note, as Christensen does,仇e possibility as Christensen writes, whereas the professional nurse and of viewing the actions of nurturing men as part of the Lavinia can be regarded as `the verbal and metaphoric patriarchal elimination of women血�0m domestic activities, representations of "nurture" in terms of domestic care because `in pre industrial England, a crucial if mundane and comfort'. The question that is raised here is why male source of women's social and economic power resided in characters such as Titus a仕empt to take over the female meir capacities to produce, prepare, and provide food for role of nurturing when `bo血Iiteral and metaphoric forms their families'. The question that she raises is, of course, of nurture are traditionally associated with women'. not just the domestic role of the Elizabethan housewife Let us return, then, to Titus's performance of the role of but also the ideology of the household as a site of conflict cook. To take this particular role can be considered as part in terms of gender and class. There is a tendency in of his project to usurp the woman's role of nurturing- Christensen's argument, however, to generalise the especially an act of food-providing. However, if his self- gender and class division in assessing family labour conscious theatricality in his role as cook is shared even when she asserts that `women performed most or all of by his opponents such as Aaron, is it appropriate to put all the work inside their homes'in Elizabethan England. of仇em in the same category of Shakespeare's nur山ring

She compares Titus's household to that of `early modern men? Aaron has his own nurturing relationship with his merchants and noblemen', but it needs to be discussed baby son: more carefully in relation to the concept of the household as a social and cultural space in which feasting and I'll make you feed on berries and on roots, banqueting are practised as part of everyday life. And fat on curds and whey, and suck the goat, Two further points need to be made here. First, And cabin in a cave, and bring you up in discussing the importance of the contributions of To be a warrior and command a camp. Renaissance llousewives to their domestic economies, OV.2.176-9) it is necessary to draw a clear distinction between `the supervision of servants in noble households'and `the This question requires another way of looking at the performance of ‥. duties themselves in houses of the representation of nurturing in Elizabethan England. middling sort'. Second, to examine the ideological effect One should not overlook, for example, the culinary on me meatrical representation of nurturing men in a context of nurturing as well as the theatrical one in changing society, it is essential to explore the cultural, which Shakespeare represents the art of cooking in the social, and, more specifically, culinary context of what banquet scenes. A banqueting table is not a space without nurturing men provide their families with to establish their a conflict, but a site where one not only encounters the aumority in the household. Other but also attempts to assimilate `otherness', both One of the questions that arise is to what extent wi血in and wi也out血e self, in terms of genderl class, race and in what ways the performed world of the Roman and nationality. It should also be noted that banqueting

-88 practice brings that which is marginal to仇e table, where Shakespeare's Titus Andronicus. The significance of the the artificial almost supersedes nature. The artificiality private setting is, as mentioned before, closely related to of the banquet contrasts with that of the feast, the feast the fashion of banqueting practices in Elizabethan upper being an extravagant mixture of all sorts of food and drink, and upper-middle-class culture. This tiny scene constitutes but the artificiality of banquets themselves is necessarily a significant moment in the whole play, for it focuses on contained in血e comprehensiveness of feasts. the question of how to interpret血e riddle. In this banquet, The question of blurred boundaries between the terms the biggest riddle is Lavinia herself, with her tongue and banquet and feast in Titus Andronicus will be clarified hands forcibly removed from her body. She is a living when they are compared with banquets and feasts as emblem waiting to be interpreted. Titus tries to 'interpret represented in Macbeth. Shakespeare transforms all her martyred signs'(III.2.36) : Titus's banquet into those of Macbeth in ways that stress features of the Last Supper, incorporating the She says she drinks no omer drink but tears, cannibalistic element into the feast of the three witches. Brewed with her sorrow, mashed upon her cheeks.

This ambiguous distinction reflects, however, not only Speechless complainer, I will learn仇y thought. the gender transgression of the characters in the play, but In my dumb action will I be as perfect also social anxiety about various boundaries in the literal As begging hermits in仇eir holy prayers.

and symbolic formation of domestic government. Titus Thou shalt not sigh, nor hold thy shmps to heaven, Andronicus, as one of the earliest of Shakespeare's plays, Norwink, nor nod, nor kneel, nor make a sign, provides us with a good opportunity to examine the early But I of血ese will wrest an alphabet, aspects of Shakespearean banquets, which were to be And by still practice learn to know thy meaning.

developed throughout the various genres of his works: for OIL 2. 37-45) example, the association of the banquet with privacy in Romeo andJuliet and All Is True {Henry VIII) , its affiliation The Elizabethan banquet, distinct血-om a feast, was an with country-house culture m , occasion on which diners could enjoy the practice not only the masque element and association with cannibalism in of eating but also of interpreting 'conceitfur or intricate

The Tempest, and the carnivalesque features of 1 and 2 dishes. It was especially fashionable in the Elizabethan Henry IV. Above all, the public nature of Titus's banquet age to use 'elaborate sets of void roundels', little plates at is similar to Macbeth's state banquet. The bloody banquet desserts, 'often decorated on the back with various scenes, in Titus Andronicus is a prototype of cannibalistic revenge emblems, or verses'. Anthony Munday, a pamphleteer banquet scenes on the Elizabethan stage, soon to be and playwright for the city pageant and commercial

copied by John Marston in Antonio's Revenge and lもomas stage, wrote a book called A Banquet ofDaintie Conceits, Heywood in both The Golden Age and The SilverAge. published in 1588 `at the desire of bothe Honorable and Titus is also the earliest Shakespearean Roman play Worship血ill personages, who haue had copies of diuers of to use the banquet as a means of revenge. The private 仇e Di仕ies heerein contained'. Banqueters could enjoy all

space that a banquet is expected to produce is ideal for these rare conceits found not only in and on sweetmeats

arranging an intimate meeting, whether part of some plot and dishes but also in the sweet music, arld il一 a private

to seduce a virgin or to murder a prince. The nature of space such as a banqueting room conceitfully designed

banquets represented in Titus Andronicus, however, is and built for this purpose. more difficult to define than it appears. It is possible that 3 Shakespeare's idea of banquets was still in embryo, but was to be developed in his more sophisticated plays of仇e The episode of仇e瓜y in Act III, Scene 2 is an important later period. One may note the confusion or ambiguity in turning-point. At first, Titus's way of thinking appears too his use of these two words, feast and banquet, as one of absolutist to interpret the meaning of Marcus'killing of the the characteristics of the play. The question that needs to 恥His obstinate a仕itude of blaming his brother for mis

be asked is whemer one can observe any `dramaturgy of simple act even looks hypocritical, for he changes his mind

the margins'in Shakespeare's representations of feast and completely after hearing the reason why he killed the fly:

banquets. What kind of dramatic effect was intended by `Pardon me, sir, it was a black ill-favoured fly,/ Like to the the ambiguity of this verbal pair in displaying the bloody Empress'Moor. Therefore I killed him'(III. 2. 66-7). Titus body parts on me table? instantly begs his pardon and understands that Marcus What all these comparisons with possible sources has `done a charitable deed.'Then he attempts to kill the and analogues mean is that one finds a unique example 瓜y again `as if it were the Moor/ Come hither purposely in a private banquet scene such as Act III, Scene 2 in to poison me'. Marcus deplores the fact that Titus 'takes

- 89 false shadows for true substances'. However, this power TITUS : of delusion, or madness, turns into the very means of Come, come, Lavinia. Look, thy foes are bound. resisting evil enemies, for the Queen and her sons come Sirs, stop their mouths. Let them not speak to me, to mock him later, disguised because they believe they are But let them hear what fear血Il words I u杖er. safe while he is mad. Titus secludes himself further from O villains, Chiron and Demetrius! the other members of his family, only taking with him Here stands血e sp血g whom you have stained with mud,

Lavinia and a `boy', his grandson: This goodly summer with your winter mixed.

Come, take away. Lavinia, go with me. Hark, wretches, how I mean to martyr you. I'll to thy closet and go read wi瓜仇ee This one hand yet is left to cut your throats, Sad stories chanced in of old. Whiles that Lavinia 'tween her stumps doth hold

Come, boy, and go with me. Thy sight is young, The basin that receives your guilty blood. And thou shalt read when mine begin to dazzle. You know your mother means to feast with me, (III. 2. 80-3) And calls herself Revenge, and minks me mad. Hark, villains, I will grind your bones to dust, This scene is effectively placed just before the signi丘Cant And wi也your blood and it I'll make a paste, scene in which the riddle of Lavinia is resolved when And of the paste a coffin I will rear, she suggests the association of the story in And make two of your shame血il heads, Ovid with that of her own situation. After the names of And bid that strumpet, your unhallowed dam, the rapists are disclosed, the plot moves swiftly towards Like to the earth swallow her own increase. revenge. The banquet of revenge in the final scene is This is the feast that I have bid her to, preceded by an unusual masque of the Queen and her two And也is me banquet she shall surfeit on; sons in Act V, Scene 2. They enter disguised as Revenge, For worse man Philomel you used my daughter, Rape and Murder to make Titus believe that she is And worse血an Progne I will be revenged. `Revenge, sent血-om below/ To join wi仇him and right his And now, prepare your throats. Lavinia, come. heinous wrongs'(V.2.3-4). Then they knock at his study. Receive the blood, and when that they are dead Like me closet mentioned in the丘rst banquet scene, the Let me go grind their bones to powder small, shdy is one of the most private spaces in the home. This And with 仙is hateful liquor temper it, not only suggests the very private nature of the masque And in that paste let their vile heads be baked. but also gives a special meaning to me following banquet Come, come, be everyone of丘ClOUS scene. The banquet in仇e last scene is public in form, but To make this banquet, which I wish may prove it stays private because it is held in血e house ofTihs. More stern and bloody than the Centaurs'feast This sense of ambiguity between the private and public He cuts their throats can be found in the confused usage of 'banquet'and 'feast' So, now bring them in, for I'll play the cook by bo血Tamora and Ti山s. Disguised as Revenge, Tamora And see them ready against their mother comes. suggests that Titus bid his son Lucius, who is threatening Exeunt [carrying the bodies] Rome with a `band of warlike Go也s'(V.2.113), `come and (V.2.165-170, 179-204; my emphasis) banquet at thy house'. She continues, 'When he is here, even at血y solemn feast,/ I will bring in the Empress and The main dish at Tihs's banquet, or feast, is of course two her sons'(V.2.115-6). Hearing血is `device', Titus promptly pies, in which the heads of Tamora's sons are baked. As calls Marcus to bring Lucius and tells him `仇e Emperor this kind of pie is usually for仙e main course of a dinner and the Empress too/ Feast at my house, and he shall or feast, the banquet in the final scene should be be仕er feast with them'(V.2.122-8). Titus uses the word `feast' understood as a banquet in the modern sense. The sense here, while `banquet'is used later in the same scene in of the ending in Titus Andronicus is completely different which he starts to prepare for me bloody `banquet'. Soon from its classical sources, and is grave enough to make after Tamora leaves her two sons behind, Titus discovers the audience feel the new order embodied in the new who Rape and Murder are, that is, Chiron and Demetrius. generation, represented by Lucius, the surviving son of When they are bound fast by Publius, Marcus'son, Titus. Titus appears with a knife, and Lavinia with a basin. This grotesque narrative is worthy of血ill quotation to illustrate The tradition of the banquet, in Renaissance the vivid moment of Titus's texhal practice, in which the tragedy, evokes the split between private political terms 'feast and 'banquet'are used in a complicated way: aims and public duties of care. At the same time, it

90- demonstrates the source of a ruler's vulnerability in as a perverted version of culinary practice in Elizabethan the gap between hospitable strategies and tactics. England.

Discussing the roles of host and hostess represented by Notes Macbeth and his wife, Daryl Palmer points out Duncan's For references to the works of , I blindness to the possibility of their evil imagining due to have used the Oxford Edition as published in The Norton his complete belief in 'the security of hospitable decorums Shakespeare, ed. and others (New York: Norton, 1997) throughout, unless stated otherwise. Fl supported by the larger system of prestation'. To sum reads here: 'a father and mother?'for 'father, brother?', and up me dramatic effect of , Palmer 'doings'for 'dirges'. See Textual Variants of this edition, p. compares the banquets in Titus Andronicus to Macbeth's 434. banquets. The host', Palmer writes, `submits his designs For a general discussion of the relevant question, see to the ideal of hospitable feasting': `The progression of Mary Beth Rose, Where are the Mo仇ers in Shakespeare? dramatic action pauses over this confluence of hopes Options for Gender Representation in the English and fears; and the host finds that he cannot control the Renaissance', SQ, 42 (1991) , 291-314. entertainment, that hospitality has enabled his tragic 3 `The emendation improves the metre, removes the end'. Although he discusses the two banquet scenes discrepancy with "he" in the following line, and keeps the emphasis appropriately on fathers; Titus elsewhere in Macbeth (1.7; III.4) as 'mirroring each other, echoing addresses Marcus as "brother". Compositor E, who set and anticipating many such hospitable affairs on the this passage, substitutes "Mother" for "brother" at Renaissance stage , one remains unsure as to what V.2.190/3458'. As for `dirges', it glosses that `F is very weak Macbeth's banquet means-whether it is a supper, … The OED offers little support for `dolings ; `dirges'(used dinner, feast or dessert course. As it turns out, the failed in Lucrece and Romeo) is perfect sense and might have been or interrupted banquets of Capulet and Macbeth are misread as "doings'". See and , considered to be as representations of confusion and William Shakespeare: A Textual Companion (New York: indeterminacy, signifying the host's bad management of Norton, 1997) , p. 212n. III.2.60/1375. his household. 4 Wells and Taylor, p. 212n. III.2.60/1375. Marion Wynne-Davies discusses this womb-tomb associa- Images of nurturing men are also part of the tion, comparing a dark cave in Act II, Scene 3 to `the vagina, representations of terror which can be felt in the the all consuming sexual mouth of the feminine earth, uncertainty or indeterminacy of the boundaries, akin to which remains outside the patriarchal order of Rome': This what Mary Douglas referred to as `dirt'or `danger'. In is the "swallowing womb" (239) that links female sexuality Titus, one of the significant representations of horror to death and damnation.'See H`The Swallowing Womb": is human body parts that symbolise the intersection of Consumed and Consuming Women in Titus Andronicus', in the human body and food at the bloody banquet. The The Matter of Difference: Materialist Feminist Criticism of final banquet in Titus Andronicus is thus similar to that Shakespeare, ed. Valerie Wayne (Ithaca: Cornell UP, 1991) , of Macbeth: both of them represent a confused state of pp. 129-51 (esp. 134). For the `central and over-determined symbolic significance'of `the abhorred pit'as `vagina, household management by blurring the categorical and womb, tomb, and mouth', see David Willbern, `Rape and 也erefore spatial boundaries between feasts and banquets. Revenge in Titus Andronicus , English Literary Renaissance, In such cases, one finds it difficult to tell one from the 8 (1978), 159-82 (p. 168). other-the banquet from the feast. It is appropriate, For a discussion of Renaissance androgyny and then, to examine Titus's so-called banquets closely, for hermaphrodites, see Grace Tiffany, Erotic Beasts and Shakespearean repasts which have structural signi丘cance Social Monsters: Shakespeare, Jonson, and Comic Androgyny occur, as Harold Metz says, 'somewhat more frequently in (Newark: U of Delaware P; London: Associated UP, 1995), the tragedies than might have been anticipated'. esp. pp. 68-104. For `the imprint of mothering on the male

The art of cooking that Titus displays upon the stage is psyche, the psychological presence of the mother in men', see Coppelia Kahn, `The Absent Mother in King Lear', in one of the distinctive features of the play. His practice of Rewriting the Renaissance: The Discourse of Sexual Difference this art, however, not only exhibits his paternal authority in Early Modern Europe, ed. Margaret W. Ferguson, within his household, but also helps to portray patriarchal Maureen Quilligan and Nancy J. Vickers (Chicago: U of society, both Roman and Elizabethan, on the margins Chicago P, 1986), pp. 33-49 (p. 37). of the public and private, in the form of both the ritual William Shakespeare, Titus Andronicus, ed. , and everyday practices of banqueting. The enactment of , third series (London: Routledge, 1995) , patriarchy in Titus Andronicus is depicted in a way that pp. 120-1. emblematically represents the marginalisation of others, For a discussion of仇e au血orship of III.2, G. Harold Metz, and we are invited to observe Titus's ritualistic banquets Shakespeare's Earliest Tragedy: Studies in Titus Andronicus

-91 - (Madison: Fairleigh Dickinson UP: London: Associated John Gillies, Shakespeare and the Geography of Difference UP, 1996), pp. 36-7. 'Although a few commentators have (Cambridge: Cambridge UP, 1994) , p. 109. reservations', Metz concludes, `the consensus seems to be 1 Ibid., p. 112.

that 3.2 is Shakespeare's'(p. 37). Ann Christensen, ‖`Playing the Cook": Nurturing Men in Titus Andronicus, ed. Bate, p. 121. Titus Andronicus', Shakespeare Yearbook, 6 (1996), 327-54. For two different functions of the two banquet scenes, Metz, 22 For the `bodily monitoring Kate undergoes through her Earliest Tragedy, p. 93, and also John W. Mahon, For now ``taming", which underlines the importance of diet and we sit to chat as well as eat': Conviviality and Conflict in fasting', see Caterina Albano, 'Representations of Food and Shakespeare's Meals', in "Fanned and winnowed opinions": Starvation in Early Modern '(unpublished Shakespearean Essays Presented to Harold Jenkins, ed. John doctoral thesis, U of London, 1998), p. 183. W. Mahon and Thomas A. Pendleton (London: Methuen, Christensen, `Nurturing Men', p. 328. See also Jean R. 1987) , pp. 231-48 (pp. 238-9). Brink, `Domesticating the Dark Lady', in Privileging Gender Editions such as the Riverside (2nd edn.) and the Oxford in Early Modern England, ed. Jean R. Brink (Kirksville: gloss here as a `light repast', while血e New Cambridge and Sixteenth Century Journal Publishers, 1993), 93-108 (p. the New Arden reserve clear de五nition for the term here. 106). The New Cambridge notes that the same word used three For the kind of psychoanalytic reading that she criticises, times in Act V `obviously means "banquet" in the modern see Richard P. Wheeler and Charles Barber, The Whole sense'(p. 101, nO, SD. 1) while leaving `doubt about the Journey: Shakespeare's Power of Development (Berkeley: U of character of the meal in 3.2'(p. 132n. 76). The only gloss California P. 1986), p. 3. that仇e New Arden gives for仙e banquet (III. 2) is simply `a Christensen, `Nurturing Men', p. 329. table laid with dishes is brought on'(p. 206, nO.1). 'Ibid., p. 328. For my discussion of the dramatic function of the two Ibid., p. 327. banquets in Macbeth, see Shinji Yamamoto, 'Shakespeare 'Ibid., p. 329. and the Material Culture of Banqueting: Representing the 1 Ibid., p. 327. Absent and the Festive Ritual Reversed in Patricia Fumerton, `Introduction: A New New Historicism', and Macbeth , The Institute for Theatre Research, The 21st in Renaissance Culture and the Everyday, ed. Patricia Century COE Programme, Waseda University, 6 (2006), Fumerton and Simon Hunt (: U of Pennsylvania

pp. 177-96 (esp. 189-93). P, 1999), pp. 1-17. The Arden editor gives仇e date of this additional scene Christensen, `Nurturing Men', p. 329.

as around 1597-1602, comparing it to the similar added 蝣For a study of private supper and public feast, see Ann mad scenes in the 1602 edition of by Christensen, `Private Supper/Public Feast: Gender, Power, . See the introduction to Titus Andronicus, ed. and Nurture in Early Modern England'(unpublished Jonathan Bate, Arden Shakespeare, third series (London: doctoral thesis, U of Illinois, 1992). I owe much to her Routledge, 1995), p. 118. The added scene in Fl was, groundbreaking study of this topic. ¶ne distinction between according to the Oxford (1984) editor, probably from the the private and the public is fully theorised in her reading prompt-book. The scene never reached the printer for Ql in of early modern drama based on Bakhtinian theory, 1594, since it might have been written on a separate sheet but remains unsatisfactory for my aim of histoncising and kept in the prompt-book for performance. Based on the emerging cultural and social consciousness of the the rare.word test, he assumes the date for the scene to be difference between feasting and banqueting practices of the 'approximately contemporary with such plays as Romeo and period. Juliet and Richard IT (`Introduction', p. 41), that is, around anticipated Shakespeare's use of the 1595-6. The Cambridge editor also generally agrees with cannibalistic banquet in a banquet scene with dead men s Bate that Shakespeare seems to have added this scene heads and bones offered 'in dishes'in his The Battle of sometime after 1594 to exploit a vogue for mad scenes'. See Alcazar (first performed 1588-9, first published in 1594): William Shakespeare, Titus Andronicus, ed. Alan Hughes, 'Enter to the bloudie banket (Q). An editor's stage direction New Cambridge Shakespeare (Cambridge: Cambridge UP, for the fourth dumb show at the beginning of Act IV is 1994), p. 48. `Enter a banket brought in by two moores. Enter to the Naomi Conn Liebler, `Getting It All Right: Titus Andronicus bloudie banket Sebastian, Muly Mahamet, the Duke of and Roman History', SQ, 45 (1994) , 263-78 (pp. 277-8). Avero, and Stukely. To them enter Death and three Furies, Steven Mullaney, The Place of the Stage: License, Play, and on with blood, one with Dead mens heads in dishes, another Power in Renaissance England (Chicago: U of Chicago P, wi血Dead mens bones. Exeunt shew'. See George Peele, 1988), p. 30. The Battle ofAlcazar'in The Life and Works of George Peele, 'Mary Douglas, Purity and Danger: An Analysis of the ed. John Yoklavich (New Haven: Yale UP, 1961), II, p. 331. Concepts of Pollution and Taboo (London: Routledge & In Thomas Heywood s The Golden Age, A banquet brought Kegan Paul, 2001), pp. 103, 115. in with the limbs ofa man in the service'(II.1.61/Dl). See

17 Ibid., p. 96. Thomas Heywood, The Golden and Silver Ages, ed. J. Payne 5 Ibid., p. 96. Collier (London: for the Shakespeare Society, 1851), p. 22.

-92- These limbs were cooked in shocking pies as in the scene from Titus Andronicus. Concluding the play with a bloody revenge banquet scene, as Chris Meads argues, has been a kind of `established form', as seen in such plays as Titus Andronicus, Antonio's Revenge (John Marston, 1600), The Revenger's Tragedy (Anon. [Thomas Middleton? Cyril Tourneur?], 1606), Valentinian (John Fletcher, 1614), The Bloody Brother (Fletcher [with Massinger?; Jonson?] , 1619), The Noble Spanish Soldier (Thomas Dekker [S. R.], 1626), and 'Tis Pity She's a lヰ偽ore Qohn Ford, 1632). See Chris Meads, Banquets Set Forth: Banqueting in English Renaissance Drama (Manchester: Manchester UP, 2001) , p. 208. See n. 15 above. 'patricia Fumerton, Cultural Aesthetics: Renaissance

Literature and the Practice of Social Ornament (Chicago: U ofChicago P, 1991), p. 123. 'Anthony Monday, A Banquet ofDaintie Conceits (London: J. C. for Edwarde White, 1588).

See Jennifer Stead, `Bowers of Bliss: The Banquet Setting', in Anne Wilson, ed., `Banquetting Stuffe': The Fare and Social Background of the Tudor and Stuart Banquet (Edinburgh: Edinburgh UP, 1986), pp. 115-57. 'In his essay, ･Of Studies', Francis Bacon writes: `Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring, for ornament, is in discourse, and for ability, is in the judgment and disposition of business'. See Francis Bacon, The Essays or Counsels Civil and Moral, ed. Brian Vickers (Oxford: Oxford UP, 1999), p. 114. Bacon's frequent use of culinary in this section (e.g. digestion and distillation) may suggest the increasing significance of privacy both eating and thinking for establishing the self. Daryl W. Palmer, Hospitable Performances: Dramatic Genre Cultural Practices in Early Modern England (West Lafayette: Purdue UP, 1992), p. 175. 1 Ibid., p. 175. 41 Ibid., pp. 175-6.

蝣Metz, Earliest Tragedy, p. 93.

-93