Abstract
Shakespeare's "Titus Andronicus" critically engages and enacts teachings and patterns of emulation, including those of Quintilian, Roger Ascham, and other contemporary humanists and playwrights, pressing emulation's uses to extremes that suggest that imitative self-fashioning potentially results in monstrous or fragmented characters, decisions, and texts. The professed aim of the grammer-school education, the ability to judge well, is conflicted by "Titus's" exposure of judgment as itself a contested concept, locked within a circularity of intertextual precedents. "Titus's" excessive, even parodic, repetition of emulative strategies acts as a rebuttal of seemingly straightforward humanist models of character, judgment, self, and decorum.
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