When T. S. Eliot so flamboyantly denounced Titus Andronicus as ‘one of the stupidest and most uninspired plays ever written’, he naturally invited rebuttal. But while an apology for Titus can certainly be erected, the fact is that the imputed stupidities of the tragedy attract far more interest than any of its mediocre achievements. Indeed, if we would only persist in the study of those very ‘stupidities’ that many critics would rather forget, we would discover that the ways in which the figurative language imitates the literal events of plot makes The Tragedy of Titus Andronicus a significant dramatic experiment. In the play’s spectacularly self-conscious images that keep pointing at the inventive horrors in the plotting, in its wittily-obsessive allusions to dismembered hands and heads, and in the prophetic literalness of its metaphors, Titus reveals its peculiar literary importance.

The peculiar language of Titus Andronicus is particularly apparent in the literalness of its central metaphors. In a play preeminently concerned with the mutilation of the human body, Titus makes nearly sixty references, figurative as well as literal, to the word 'hands' and eighteen more to the word 'head', or to one of its derivative forms. Far from being divorced from the action as many critics claim, the figurative language points continually toward the lurid events that govern the tragedy.