Titus, the title character, is a Roman general and the central figure in the cycle of vengeance that comprises the play. Titus is initially presented as an admirable patriot whose life has been spent largely in the service of his country, but his inflexible pride and overly developed sense of honor cause him to kill one of his own sons in a dispute over loyalty to the Emperor. In 1.1 Titus permits the ritual sacrifice of the son of Tamora, who consequently seeks revenge against him and his family. Tamora's vengeance (implemented primarily by her lover, Aaron) results in the false conviction of two of Titus' sons for the murder of his son-in-law Bassianus and the horrible rape and mutilation of his daughter, the newly widowed Lavinia. Further, Titus is tricked by Aaron into having one hand chopped off, and then, when his two sons have been executed, their heads are brought to him, along with his own severed hand, on a platter. His grief turns to madness, though when Tamora attempts to take advantage of his apparent lunacy, by posing as the spirit of Revenge, he shows that he has retained enough sanity to turn the tables on her. However, Titus' own revenge is anything but sane. He kills Tamora's two surviving sons, Lavinia's attackers, and bakes them into a meat pie that he serves to their mother at a banquet. First, however, he kills Lavinia herself, citing a legend in which a father kills his raped and dishonored daughter Titus then slays Tamora and is killed himself. His only surviving son, Lucius, becomes the new Emperor. 

Marcus Andronicus is the brother of Titus. Marcus proposes his brother as a candidate for the vacant imperial throne in 1.1, though he accedes to Titus' determination that Saturninus should reign. He sides with Bassianus and Titus' sons in the dispute over Lavinia, but a reconciliation is soon effected. In 2.4 Marcus discovers Lavinia in her ravished state, and his seemingly incongruous response—distant and rhetorical despite the extremity of her plight—often puzzles modern readers. It is a good instance of a mode of formal discourse, intended to promote a sense of strangeness and unreality, that was highly prized in Renaissance times but is now quite unfamiliar.

Martius is a son of Titus Andronicus, with Quintus, is framed by Aaron for the murder of Bassianus in 2.3.  After the two are executed, their heads are delivered to Titus, in 3.1.

Valentine is a character that does not speak but is mentioned in stage directions in the scene where Chiron and Demetrius are captured.

Aaron Character in Titus Andronicus, the chief villain a vicious criminal who loves evil for its own sake' Aaron, a Moor, is the lover of Tamora, the Queen of the Goths, and carries out her revenge on Titus Andronicus, who has permitted her son to be killed Although Aaron is in the retinue of the captured Queen in Act 1, he is silent. Only in 2.1 does he begin to reveal his character, rejoicing in the advancement of Tamora, who is to marry the Emperor, Saturninus because it will also benefit him. The rich imagery of his first soliloquy (2.1.19-24) suggests that here is a villain who looks forward to catastrophe; it has for him the allure of 'pearl and gold'. 

Tamora's two sons lust after Lavinia, Titus' daughter. Aaron plans their appalling rape and mutilation of the girl that is the centre-piece of the revenge upon her father. Aaron's plots are indeed successful Not only is Lavinia brutalized, but her new husband Bassianus, is murdered and two of Titus' sons are charged with the crime. Further, Aaron falsely tells Titus that his severed hand is required as ransom for the two sons' lives. Titus submits to the amputation only to have the sons' heads, and his own hand delivered to him on a platter. This excessive piece of brutality delights Aaron, and he gloats to himself. 

Shakespeare's day (though, as Othello demonstrates it did not have to have such a connotation). However even in this early work, Shakespeare doesn't settle for simple conventionality. Later in the play, a Nurse delivers to Aaron Tamora's new-born black infant, his child, calling it -as loathsome as a toad / Among the tair-taced breeders of our clime' (4.2.67-68) She bears Tamora's orders that Aaron is to kill it to protect her reputation. He refuses and defends the baby at sword's point against Tamora's sons. 

The black man's proud defiance of society reflects Shakespeare's awareness that villainy can have ingredients m common with heroism, regardless of race Although the irony of this extraordinarily evil man cooing over his infant son was probably intended as humorous, it is also a good instance of the playwright’s respect for the full humanity of all his characters, even one intended as a demonstration of cruelty Aaron s villainy is certainly still active, for he proceeds to kill the Nurse and send the two sons out to buy a white child for Tamora to claim as her own Aaron attempts to deliver his infant to friends among the Goths, but he is captured, and Lucius sentences both father and son to hang. Aaron offers to confess all m exchange for the baby's life. Lucius agrees, and Aaron takes the occasion to boast of his evil, declaring, while detailing his crimes, that in his delight with himself, he 'almost broke my heart with extreme laughter' (5.1.113). Lucius, incredulous, asks whether Aaron is not at all sorry for his –heinous deeds . Aaron replies: 'Ay, that I had not done a thousand more' (5 1.124). Lucius has Aaron gagged, and the Moor is taken to Rome. After the grisly banquet scene in which Titus' revenge is accomplished, Aaron is brought forth to be sentenced. He is to be buried to the neck and starved to death. This fate only provokes a last outburst: -If one good deed in all my life I did / 1 do repent it from my very soul' (5.3.189-190) Aaron is the first of Shakespeare's flamboyantly malevolent villains, foreshadowing the likes of Richard III, Edmund, Lady Macbeth, and, most spectacular of all, Iago.  

Tamora is the villainous queen of the Goths. Tamora, her three sons, and her lover, Aaron the Moor, have been captured by the Roman general Titus Andronicus before the play begins. When in 1.1, her captor permits her eldest son to be ritually sacrificed despite her eloquent plea for mercy, Tamora vows revenge and the play's bloody cycle begins. Tamora find her chance for vengeance, when the new Roman emperor, Saturninus, falls in love with her and marries her. Saturninus fears Titus, who is very popular, and wishes to break with him, but Tamora advises her new husband to make peace with the general until his own hold on the throne is more secure. She will see to Titus' downfall herself, she adds. 

After this flamboyant introduction, Tamora recedes from the forefront of the play for a while. Her revenge is implemented largely by Aaron, though she helps him frame two of Titus' sons for a murder, and she is particular!/ villainous in refusing Lavinia’s pleas for mercy in 2.3. Later, in 4.4, when she and Saturninus learn of an approaching army under Titus' son, her husband is stricken with fear, but she reproves him, in a well-known speech emphasizing the power held by rulers (4.4.81-87). She goes on to boast that she will 'enchant the old Andronicus', that is, Titus, and prevail upon him to cancel his son's invasion.