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As Katherine Rowe has so acutely analyzed, the play's auto-production of severed limbs stages the "effectless use" that Titus experiences, representing to us the impossibility of guaranteeing agency as the preserve of a single person.
We might then fairly ask, if a central pleasure, perhaps the central pleasure, of Middleton's poetry is the manner in which the nature of the poem, its meaning, inheres in sound, in its sequences, timbres, tonal colorings--in single words, on occasion, or small word groups--what chance does it have of getting through to a tone-deaf poetry reading public, one inured to the rought trade of Bad Daddy poems, gimmick poetry, the poetry of humiliating anecdote, or the frozen post-modernist gestures of rote indeterminacy and the effectless fragment?