Abstract: This essay contends that Reformation Biblical hermeneutics offer a vital way to understand the relationship between three of Titus Andronicus’s most infamous features: its insistent use of classical texts; its figurative-literal play; and its grotesque violence. In Titus, classical texts offer an oblique way to stage dangerous questions of Biblical interpretation and to dramatize the interpretive violence of the Reformation. As the characters recreate classical narratives through rape, murder, and dismemberment, the play’s factions relate to their shared texts in a manner both allegorizing and literalizing, thereby emphasizing the Reformation’s deadly slippage between hermeneutic methods. This literal-figurative tension likewise manifests as violence when characters literalize conventional synecdoches of the body with severed heads and hands that become the locus of macabre punning and misinterpretation. The play’s violence and meta-interpretive foci culminate in Tamora’s allegorical performance as Revenge and Titus’s bloody feast upon her sons, which stage the Eucharistic controversy and its underlying hermeneutic basis as murder and cannibalism. Thus, Titus holds a mirror to the most grotesque aspects of the Reformation hermeneutic culture that shaped it.

中文翻译：

---

泰特斯·安德洛尼克斯 (Titus Andronicus) 和宗教改革的暴力解释

摘要：本文认为，宗教改革圣经释经学提供了一种重要的方式来理解泰特斯·安德洛尼克斯最臭名昭著的三个特征之间的关系：坚持使用经典文本；它的比喻文字游戏；及其荒诞的暴力。在提图斯 (Titus) 中，古典文本提供了一种间接的方式来上演危险的圣经解释问题，并戏剧化宗教改革的解释暴力。当角色通过强奸、谋杀和肢解重新创造经典叙事时，剧中的派系以寓言化和字面化的方式与他们共享的文本相关联，从而强调了宗教改革在解释学方法之间的致命滑落。这种字面比喻的张力同样表现为暴力，当人物将头部和手部被切断的身体的传统比喻字面化时，成为令人毛骨悚然的双关语和误解的场所。该剧的暴力和元解释焦点在塔摩拉作为复仇的寓言表演和提图斯对她儿子的血腥盛宴中达到高潮，这引发了圣体圣事争议及其作为谋杀和同类相食的潜在解释学基础。因此，提图斯为塑造它的宗教改革诠释学文化中最怪诞的方面提供了一面镜子。圣体圣事的争论及其潜在的解释学基础是谋杀和同类相食。因此，提图斯为塑造它的宗教改革诠释学文化中最怪诞的方面提供了一面镜子。圣体圣事的争论及其潜在的解释学基础是谋杀和同类相食。因此，提图斯为塑造它的宗教改革诠释学文化中最怪诞的方面提供了一面镜子。