of Titus grew fewer and fewer. In 1678, 'about the time of the Popish-plot,' says Gerard Langbaine, the play was 'revived' and refurbished to suit the tastes and exigencies of the stage, and produced by Edward Ravenscroft. This revised version of the tragedy was published in 1687 with the following title: Titus Andronicus or the Rape of Lavinia. Acted at the Theatre Royall, A Tragedy Alter'd from Mr. Shakespear's Works. In his introduction, Ravenscroft speaks of the success which had matched the labor of revising the play, a process which left Titus with 'the language not only refin'd, but many scenes entirely new: besides most of the principal characters heighten'd and the plot much encreas'd.' It is instructive to see in what manner the characters were 'heightened.' As if the original play were not horrible enough, Ravenscroft adds infanticide to Tamora's crimes, and has Aaron offer to eat his dead child's body. The Moor is tortured and finally burned to death on the stage.
Ravenscroft's revision was still the accepted version at the close of the century, according to the list of Shakespeare's plays given by Charles Gildon in 1698 in his continuation of Langbaine's work, previously mentioned. After the turn of the century we first hear definitely of a performance of Titus in 1717. There were at least three performances, on August 13, 20, and 23, of that year, at Drury Lane. The advertisement in the Daily Courant of the 20th states that the play had been given 'but twice these fifteen years.' The most interesting fact recorded in the notice is that the part of Aaron was taken by the celebrated James Quin, who repeated the performance again in 1720 and 1721, at Lincoln's Inn Fields. The version of Ravenscroft still obtained, the play being announced in all cases as 'Titus Andronicus with the Rape of Lavinia, alter'd from Shakspeare.'
