A SHORT

HISTORY
OF
ENGLISH
RENAISSANCE
DRAMA
Helen Hackett
Helen Hackett is Professor of Englis at !ni"ersit# College Lon$on%
Her &re"io's (ooks incl'$e Shakespeare and Elizabeth: The
Meeting of Two Myths )*++,-. /omen and Romance Fiction in the
English Renaissance )*+++- an$ Virgin Mother, Maiden !een:
Elizabeth " and the #!lt of the Virgin Mary
)0,,1-%
I.B.TAURIS SHORT HISTORIES
"$%$Ta!ris Short &istories is an a'toritati"e an$ elegantl# 2ritten ne2
series 2ic &'ts a fres &ers&ecti"e on te 2a# istor# is ta'gt an$
'n$erstoo$ in te t2ent#3first cent'r#% Designe$ to a"e strong a&&eal
to 'ni"ersit# st'$ents an$ teir teacers. as 2ell as to general rea$ers
an$ istor# ent'siasts. "$%$Ta!ris Short &istories co4&rises a no"el
atte4&t to (ring infor4e$ inter&retation. as 2ell as fact'al re&ortage.
to istorical $e(ate% A$$ressing ke# s'(5ects an$ to&ics in te fiel$s of
istor#. te istor# of i$eas. religion. classical st'$ies. &olitics.
&iloso&# an$ Mi$$le East st'$ies. te series seeks inten3tionall# to
4o"e (e#on$ te (lan$. ne'tral 6intro$'ction7 tat so often ser"es as
te &ri4ar# 'n$ergra$'ate teacing tool% /ile al2a#s &ro"i$ing
st'$ents an$ generalists 2it te core facts tat te# nee$ to get to
gri&s 2it te essentials of an# &artic'lar s'(5ect. "$%$Ta!ris Short
&istories goes f'rter% It offers ne2 insigts into o2 a to&ic as (een
'n$erstoo$ in te &ast. an$ 2at $ifferent social an$ c'lt'ral factors
4igt a"e (een at 2ork% It (rings original &ers&ecti"es to (ear on
4anner of its c'rrent inter&retation% It raises 8'estions an$
9 in its e:tensi"e f'rter rea$ing lists 9 &oints to f'rter st'$#.
e"en as it s'ggests ans2ers% A$$ressing a "ariet# of s'(5ects in a
greater $egree of $e&t tan is often fo'n$ in co4&ara(le series.
#et at te sa4e ti4e in concise an$ co4&act an$(ook for4.
"$%$Ta!ris Short &istories ai4s to (e 6intro$'ctions 2it an e$ge7%
In co4(ining 8'estioning an$ searcing anal#sis 2it infor4e$
istor# 2riting. it (rings istor# '&3to3$ate for an increasingl#
co4&le: an$ glo(alise$ $igital age%
A Short History of . . .
the American Civil War Paul Anderson (Clemson University)
the American
Revolutionary War Stephen Conway (University College London)
Ancient Greece P J Rhodes, FBA (University of Durham)
Ancient Rome Andrew Wallace-Hadrill (University of
Cambridge)
the Anglo-SaxonsHenrietta Leyser (University of Oxford)
the Byzantine Empire Dionysios Stathakopoulos (Kings College
London)
the Celts Alex Woolf (University of St Andrews)
the Crimean WarTrudi Tate (University of Cambridge)
English Renaissance
DramaHelen Hackett (University College London)
the English Revolution
and the Civil Wars David J Appleby (University of Nottingham)
the Etruscans Corinna Riva (University College London)
Imperial Egypt Robert Morkot (University of Exeter)
the Korean War Allan R Millett (University of New Orleans)
Medieval English
Mysticism Vincent Gillespie (University of Oxford)
the Minoans John Bennet (University of Shefeld)
the Mughal Empire Michael Fisher (Oberlin College)
Muslim Spain Alex J Novikof (Rhodes College, Memphis)
Nineteenth-Century
Philosophy Joel Rasmussen (University of Oxford)
the Normans Leonie Hicks (University of Southampton)
the Phoenicians Glenn E Markoe
the Reformation Helen Parish (University of Reading)
the Renaissance in
Northern Europe Malcolm Vale (University of Oxford)
the RisorgimentoNick Carter (University of Wales, Newport)
the Spanish Civil War Julin Casanova (University of Zaragoza)
Transatlantic Slavery Kenneth Morgan (Brunel University)
Venice and the Venetian
Empire Maria Fusaro (University of Exeter)
the Vikings Clare Downham (University of Liverpool)
the Wars of the Roses David Grummitt (University of Kent)
Weimar GermanyColin Storer (University of Nottingham)
6Helen Hackett s'r&rises 's ti4e an$ again 2it fres insigts% Se $eftl#
traces te roots of Englis Renaissance $ra4a to te in$igeno's tra$i3
tions of Miracle Pla#s an$ Moralities. 2ile gi"ing $'e 2eigt to its
classical fore(ears. &artic'larl# Pla't's an$ Terence% Se ranges rigt
across te gol$en age of Englis $ra4a. fro4 its tentati"e origins to its
flo2ering in L#l#. Marlo2e. Sakes&eare. ;onson. Mi$$leton an$ /e(ster%
Se fin$s roo4 to $isc'ss Eli<a(et Car# an$ Mar# Si$ne# an$ is "er#
goo$ on gen$er iss'es in a teatre 2ere te roles of 2o4en a$ to (e
acte$ (# #o'ng 4en% Se $oes 5'stice. (rilliantl#. to te role of 4ate3rial
c'lt're in 'n$er&inning te e:traor$inar# $ra4a tat (eca4e te 5e2el in
te Eli<a(etan literar# cro2n 2ile sea4lessl# 2ea"ing acco43&lise$
close rea$ings of te te:ts into a (roa$ s2ee& ta&estr#% Te res'lt is a
ricl# re2ar$ing an$ i44ensel# rea$a(le (ook (# a lea$ing Renaissance
scolar at te to& of er ga4e% Hackett carries er learning ligtl#= tere
are no clic>s ere. an$ not a single &e$estrian sentence% Her li4&i$ st#le
is te &erfect "eicle for an original treat4ent tat ill'34inates at e"er#
t'rn%7
Ren Weis, Professor of English, University College London
6Helen Hackett7s Short &istory of English Renaissance 'rama is in fact
re4arka(l# 2i$e ranging. incl'si"e an$ original% An e:ce&tionall# sar&
e#e an$ a clear. cool ea$ ena(le er to $eal (ea'tif'll# 2it 4an# torn#
iss'es an$ callenging te:ts% Tese range fro4 ?te c'lt'ral i4&act of te
Refor4ation@ to te $ense. learne$. conflicte$ 2riting of Aen ;onsonB te
e:tre4e sa"ager# of Englis re"enge trage$#B an$ sli&3&er# iss'es of
gen$er raise$ (ot (# Sakes&eare7s co4e$ies 9 2it fe4ale roles
&erfor4e$ (# #o'ng (o#s 9 an$ (# less &'(lic ?o'seol$@ &la#s
&erfor4e$. an$ so4eti4es 2ritten. (# 2o4en% Finall#. te a'tor traces
contin'ities fro4 Sakes&eare7s o2n age to te &resent $a#. in 2ic. as
se rigtl# o(ser"es. ?Renaissance $ra4a contin'es to tri"e. entrall
an$ &ro"oke@% Te (ook is 'n$er&inne$ (# 2i$e3ranging foot3notes an$ a
s'(stantial Ai(liogra&#% It is a &leas're to rea$ tro'go't% St'$ents for
2o4 tis 2ill (e a first intro$'ction to Renaissance $ra4a are fort'nate
in$ee$%7

Katherine Duncan-ones, !R"L,
"enior Research !ello# in
English, "o$erville College,
%&ford
ENGLISH
RENAISSANCE
DRAMA
Helen Hackett
For Angela Tr'e4an an$ Cristine ;o#.
2it tanks for teir ins&iring teacing%
P'(lise$ in *+0C (# I%A%Ta'ris D Co Lt$ E
Sale4 Roa$. Lon$on /* FA!
0G1 Fift A"en'e. Ne2 York NY 0++0+
222%i(ta'ris%co4
Distri('te$ in te !nite$ States an$ Cana$a E:cl'si"el# (# Palgra"e
Mac4illan. 0G1 Fift A"en'e. Ne2 York NY 0++0+
Co&#rigt H *+0C Helen Hackett
Te rigt of Helen Hackett to (e i$entifie$ as te a'tor of tis
2ork as (een asserte$ (# er in accor$ance 2it te Co&#rigt.
Designs an$ Patent Act 0,II%
All rigts reser"e$% E:ce&t for (rief 8'otations in a re"ie2. tis (ook.
or an# &art tereof. 4a# not (e re&ro$'ce$. store$ in or intro$'ce$
into a retrie"al s#ste4. or trans4itte$. in an# for4 or (# an# 4eans.
electronic. 4ecanical. &otoco&#ing. recor$ing or oter2ise. 2ito't
te &rior 2ritten &er4ission of te &'(liser%
ISAN= ,GI 0 IFII1 EI1 0 )(-
ISAN= ,GI 0 IFII1 EIE I )&(-
A f'll CIP recor$ for tis (ook is a"aila(le fro4 te Aritis Li(rar# A
f'll CIP recor$ is a"aila(le fro4 te Li(rar# of Congress
Li(rar# of Congress Catalog Car$ N'4(er= a"aila(le
T#&eset in Sa(on (# Elli&sis Digital Li4ite$. Glasgo2
Printe$ an$ (o'n$ (# CPI Gro'& )!J- Lt$. Cro#$on. CR+ FYY
Contents
Ackno2le$ge4ents i:
A Note on te Te:t :i
Intro$'ction= Renaissance an$ Refor4ation 0
Ti4eline *0
Ca&ter 0= Englis Dra4a Aefore te 01,+s *G
Ca&ter *= Ho2 Pla#s /ere Ma$e FE
Ca&ter C= Marlo2e GC
Ca&ter F= Sakes&eare ,C
Ca&ter 1= ;onson 00F
Ca&ter E= Se: an$ Deat= Re"enge Trage$# 0C1
Ca&ter G= Pla#ing 2it Genre= Cit# Co4e$#.
Do4estic Trage$#. Tragico4e$# 01+
Ca&ter I= Pla#ing 2it Gen$er= Ao# Actors.
Fe4ale Perfor4ers. Fe4ale Dra4atists 0EF
E&ilog'e= Te Afterli"es of Renaissance Dra4a 0I,
Notes *++
Ai(liogra&# **+
In$e: *C*
6
SEX AND DEATH: REVENGE TRAGEDY
A #o'ng 2o4an is ra&e$ an$ 4'tilate$ (# t2o (rotersB in re"enge.
er fater kills te t2o &er&etrators. cooks te4. an$ ser"es te4 in a
&ie to teir 4oter )tis is Sakes&eare7s Tit!s (ndronic!s. 01,*9,C-%
In anoter &la#. a $eca$e later. a #o'ng 4an a$$resses te sk'll of
is 4istress. Gloriana. 2o 2as &oisone$ (# a lecero's D'ke
(eca'se se resiste$ is a$"ances% He in t'rn &oisons te sk'll.
$resses it '& as a co'rtesan. an$ tricks te D'ke into kissing it% Te
&oison eats a2a# te D'ke7s teet an$ tong'e as e $ies in agon#.
2ile force$ to o"erear is illegiti4ate son an$ is 2ife &rofess teir
l'st for one anoter an$ teir atre$ of i4 )tis is To4as
Mi$$leton7s Re)enger*s Tragedy of 0E+E-%
0
Else2ere. anoter a$'l3
tero's Italian $'ke cries o't in tor4ent after &'tting on a &oisone$
el4etB or. a Car$inal7s $iscar$e$ 4istress kisses a &oisone$ Ai(le
an$ $ies );on /e(ster7s +hite 'e)il. c$0E0*. an$ '!chess of Malfi.
0E0F-%
*
Anoter #o'ng 4an. 6tri44e$ in reeking (loo$7. ('rsts into a
(an8'et 2it a '4an eart on te &oint of is $aggerB it is te eart
of is sister. 2o 2as &regnant 2it is cil$ );on For$. *Tis ,ity
She*s a +hore. 0E*,9CC-%
C
S'c are te orrific an$ &er"erse s&ectacles &resente$ (# a
&rolific genre of Eli<a(etan an$ ;aco(ean trage$# 2ic since te
earl# t2entiet cent'r# as (een i$entifie$ (# critics as 6re"enge
trage$#7 or 6te trage$# of (loo$7%
F
Te first 2ork in te genre 2as The
Spanish Tragedy )c$01IG- (# To4as J#$. te $ra4atist 2o4
0C1
Helen Hackett
Title &age of To4as J#$7s Spanish Tragedy. so2ing Hieroni4o7s
$isco"er# of is 4'r$ere$ son%
2e enco'ntere$ in ca&ter C saring a 2riting3ca4(er 2it Marlo2e
an$ gi"ing e"i$ence against i4 at aro'n$ te ti4e of is $eat% After
J#$7s gro'n$(reaking &la# re"enge trage$# 2as a &ro4inent feat're
of te Renaissance re&ertoire for 4ore tan fo'r $eca$es 'ntil For$7s
2orks of aro'n$ 0EC+. an$ &ro$'ce$ s'c 4aster&ieces as
Sakes&eare7s &amlet )0E++- an$ /e(ster7s '!chess of Malfi% Tis
ca&ter 2ill seek to i$entif# te $efining caracteristics of tis
$istincti"e genre. an$ to acco'nt for its a&&eal%
GENERIC CONVENTIONS
To so4e e:tent re"enge trage$# looke$ (ack to classical so'rces=
re"enge a$ (een a central te4e an$ str'ct'ring &rinci&le in ancient
Greek trage$#. an$ ca4e to si:teent3cent'r# rea$ers 4ainl# "ia te
Ro4an trage$ies of Seneca% To4as Ne2ton in 01I0 e$ite$ a collecte$
"ol'4e of Englis translations of Seneca )so4e of 2ic a$ also
0CE
Se- and 'eath: Re)enge Tragedy
(een &'(lise$ earlier-% Ho2e"er. Seneca7s &la#s 4erel#
$escri(e$ gr'eso4e acts of "iolence. rater tan so2ing te4 on
stage% One of te 4ost arresting an$ caracteristic feat'res of
Englis Renaissance re"enge trage$# is te gra&ic $e&iction of
4'tilation an$ $eat%
In s&ite of teir cr'elt# an$ gore. te "arie$ an$ original for4s in
2ic $eat is inflicte$ in Eli<a(etan an$ ;aco(ean re"enge trage$#
are t#&ifie$ (# a 2eir$ kin$ of satisfaction an$ e"en (ea't# in teir
ingen'it# an$ st#lisation% Tis is &artic'larl# so in te 2orks of ;on
/e(ster )c$01GI9I+9c$0ECI-% As te e&on#4o's eroine of is
greatest &la#. The '!chess of Malfi. &re&ares to (e 4'r$ere$. se
self3conscio'sl# 4'ses on te aestetics of $eat tat are t#&ical of
te re"enge3trage$# 2orl$= 6/at 2o'l$ it &leas're 4e to a"e 4#
troat c't K /it $ia4on$sL Or to (e s4otere$ K /it cassiaL Or to
(e sot to $eat 2it &earlsL K I kno2 $eat at ten to'3san$
se"eral $oors K For 4en to take teir e:its7 )F%*%*+I90*-% To so4e
e:tent tese tort'ro's $eats. $esigne$ to &rolong an$ $is&la# agon#.
reflect te real3life teatre of cr'elt# of te Eli<a(etan an$ ;aco(ean
regi4es% Traitors a$ teir (o$ies (roken on te rack. or 2ere
s's&en$e$ fro4 &rison 2alls (# 4anaclesB at teir &'(lic e:ec'3tions
te# 2ere c't $o2n fro4 te gallo2s 2ile not 8'ite $ea$ to (e
$ise4(o2elle$ an$ castrate$% A# s'c 4eans te go"ern4ent stage$
its &o2er. an$ it 4a# (e tat s'c real32orl$ &ractices $esen3sitise$
si:teent3 an$ se"enteent3cent'r# a'$iences to "iolence on stageB
or &era&s it 2as in so4e 2a# tera&e'tic to see cr'elties acte$ o't
in te relati"el# safe s&ace of $ra4a% Certainl# te l'ri$ "iolence of
re"enge trage$# is often se&arate$ fro4 realit# an$ fra4e$ (# self3
conscio'sness of its o2n artificialit#%
Part of tis self3conscio's artifice is create$ (# te &ro4inence in
te genre of &la#s32itin3&la#s% Tese ser"e not 4erel# to &rick
consciences. as in &amlet. ('t often as te "er# 4eans of fatal retri3
('tion= $eat (# art. if #o' like. or $eat (# &erfor4ance% Rit'alistic
$eat3(#34as8'e a&&ears first in The Spanish Tragedy an$ rec'rs in
"ario's &la#s tereafter. incl'$ing To4as Mi$$leton7s +omen
%eware +omen )c$0E*0-% Mi$$leton )01I+90E*G- 2as one of te
4ost &rolific an$ 2i$e3ranging of Renaissance &la#2rigts. &artic3
'larl# nota(le for is satirical sensi(ilit#. is $ark an$ c#nical "ision
0CG
Helen Hackett
of '4an nat're. an$ is skill in e:&ressing tis in (iting i4ager# an$
arresting $ra4atic s&ectacles )see ca&ter G (elo2 for $isc's3sion of
is cit# co4e$ies-% +omen %eware +omen. one of is later &la#s an$
a relati"el# late re"enge trage$#. see4s so4eti4es like a kno2ing
co44entar# on te genre% In its concl'$ing 4as8'e. car3acters
&la#ing go$s an$ go$$esses enact teir "en$ettas against eac oter
2it &oisone$ incense. fla4ing gol$. tra&$oors. C'&i$s firing arro2s.
an$ te relati"el# r'n3of3te34ill 4eto$ of a &oisone$ c'&% Nee$less
to sa# teir &lots go a2r#. an$ se"eral caracters are 'nin3tentionall#
kille$ (# teir o2n $e"ices% Te ens'ing conf'sion is as co4ical as it
is tragical. an$ te s&ectating D'ke s&eaks for te off3stage a'$ience
2en e confesses 6I a"e lost 4#self in tis 8'ite7
)1%0%0I+-% Te 2ole scene at once co4&lies 2it an$ satirises
te con"ention tat $eat in re"enge trage$# is a igl# st#lise$
an$ aesteticise$ affair%
Re"enge trage$# litters te stage not onl# 2it cor&ses. ('t also
2it (o$#3&arts% In /e(ster7s '!chess of Malfi. D'ke Fer$inan$
co4es to "isit is sister. te D'cess of te title. in er &rison% In te
$arkness e see4s to offer er is an$. 2ic se kisses. onl# to
fin$ as te ligt co4es '& tat se is ol$ing te se"ere$ an$ of a
cor&se%
1
6O orri(leM7 se 'n$erstan$a(l# e:clai4s )F%0%1C-% So4e
a"e seen /e(ster as $ealing in grat'ito's orrors. ('t tis $ea$
an$ is 4eaningf'l on se"eral le"els% Fer$inan$ clai4s. falsel#. tat it
2as taken fro4 te (o$# of te D'cess7s 's(an$. AntonioB in an
atte4&t to $ri"e er to $es&air. e so2s er effigies 2ic a&&ear to
(e te cor&ses of Antonio an$ er cil$ren )F%0%1E9E+-% In fact Antonio
is still ali"e. ('t te $ea$ an$ an$ te false cor&ses foresa$o2 is
i44inent $eat. an$ te e"en 4ore i44inent $eat of te D'cess
erself% At te sa4e ti4e Fer$inan$7s gest're 2it te $ea$ an$
e4(o$ies is o2n e4otional col$ness to2ar$s is sister. an$ te
4eta&orical $ea$ an$ of ancestral ono'r an$ &atriarcal control
2it 2ic e an$ is (roter. te Car$inal. are atte4&ting to o&&ress
te D'cess an$ stifle te 2ar4t an$ '4anit# of er lo"e for er
lo23(orn 's(an$ an$ er cil$ren% Oter (o$#3&arts in re"enge
trage$# incl'$e Gloriana7s sk'll in The Re)enger*s Tragedy an$ te
se"ere$ finger of er 4'r$ere$ fianc> &resente$ to Aeatrice3;oanna
in The #hangeling )0E**-B te# are
0CI
Se- and 'eath: Re)enge Tragedy
tote4ic o(5ects. at once re4in$ers of te $e&arte$ $ea$ an$
&ortents of $eats to co4e%
Gosts. too. (ring te &ast into te &resent. an$ connect 4e4or#
2it action% &amlet is of co'rse a re"enge &la#. 2it 5'st s'c a gost
co4ing (ack fro4 te $ea$ to incite is li"ing eir to re4e4(er. to act.
to $eal o't retri('ti"e $eat. an$ to e4(race is o2n $eat%
E
Sakes&eare is to'gt to a"e (een &artl# ins&ire$ (# an ol$er
&amlet &la#. no2 lost. &ro(a(l# (# J#$B certainl# in J#$7s s'r"i"ing
&la#. The Spanish Tragedy. te 2ole $ra4a is fra4e$ (# an
a"enging gost 2o s&ectates an$ &ro"i$es an e4(ittere$
co44entar# on te action. co4&laining 2en retri('tion against is
ene4ies see4s to (e &rocee$ing too circ'ito'sl# an$ slo2l#% The
'!chess of Malfi as a $ifferent kin$ of gost= after te D'cess7s
$eat in Act F. se ret'rns as a s&ectral eco in Act 1 scene C to
inti4ate. ri$$lingl#. to er 's(an$ tat se is $ea$ an$ is o2n $eat
2ill soon follo2% All tese gosts. to'g. sare an o"erall role in
re"enge trage$# of te memento mori= a re4in$er to caracters an$
a'$ience alike of teir essential an$ ine"ita(le 4ortalit#%
Fer$inan$7s cr'el trick 2it te $ea$ an$ is t#&ical of a &artic3'lar
stock caracter in re"enge trage$#. te Macia"el% Tese sce4ing.
r'tless "illains 2ere relate$ less to te act'al s'(stance of
Macia"elli7s &rag4atic &olitical 2ritings tan to is re&'tation in
Englan$ as an a$"ocate of i44oralit# an$ $e"io'sness in affairs of
state% Earl# e:a4&les incl'$e$ J#$7s Loren<o )in The Spanish
Tragedy- an$ Marlo2e7s Aara(as an$ Morti4er ;'nior )in The .ew of
Malta. c$01,+. an$ Edward "". c$01,*-% Aara(as is o"ertl# &resente$
as a $isci&le of Macia"elli. 2o s&eaks te &rolog'e to te &la#.
clai4s Aara(as as is follo2er. an$ $eclares tat 6I co'nt religion ('t
a cil$is to# K An$ ol$ tere is no sin ('t ignorance7%
G
Te Macia"el
caracter co44onl# 2orks in 'neas# alliance 2it a tool3"illain or
4alcontent. 2o &'ts into &ractice is 4aster7s ingenio's &lots to
$estro# is ene4iesB t's Ligt(orn. te sinister fig're ire$ (#
Morti4er to 4'r$er E$2ar$ II. (oasts=
I learne$ in Na&les o2 to &oison flo2ers.
To strangle 2it a la2n tr'st tro'g te troat.
To &ierce te 2in$&i&e 2it a nee$le7s &oint.
0C,
Helen Hackett
Or. 2ilst one is aslee&. to take a 8'ill
An$ (lo2 a little &o2$er in is ears.
Or o&en is 4o't an$ &o'r 8'icksil"er $o2n%
)1%F%C09E-
Edward "" is not entirel# classifia(le as a re"enge trage$#. ('t s'c
caracters clearl# a$ a nat'ral o4e in tis genre% As te# $e"el3
o&e$ te# (eca4e coric fig'res. $isaffecte$ an$ i4&o"erise$
scolars str'ggling to fin$ &atronage an$ e4&lo#4ent 9 4'c like
4an# of te a'tors 2o create$ te4 9 2o cast a 5a'n$ice$ e#e
o"er te sor$i$ e"ents aro'n$ te4% Nin$ice in The Re)enger*s
Tragedy o&ens te &la# 2it an e:coriating anal#sis of eac 4e4(er
of te corr'&t co'rt as te# &rocess across te stage% He (eco4es
teir ser"ant an$ &an$er. ('t 2ill 'se te inti4ate access 2ic tis
gains i4 in or$er to (eco4e teir ne4esis% As tis i4&lies. o2e"er.
e (eco4es a so4e2at co4&ro4ise$ &artici&ant in te corr'&t
2orl$ tat e is seeking to &'rge% Tis is e"en 4ore tr'e of Aosola in
The '!chess of Malfi. 2o is at once te ire$ tor4entor an$
4'r$erer of te D'cess an$ te caracter 2it te $ee&est
a&&reciation of er "irt'es% He as&ires to te 4oral &ro(it# of a
satirist. castigating te $eca$ent creat'res of te co'rt tat s'rro'n$
i4. ('t is social insec'rit# forces i4 to a(an$on all integrit# an$
co44it te cri4es of oters% Tis 4akes i4 a conflicte$ an$
fascinating $ra4atic car3acter. a c#nic 2it a eart%
Caracters 'n$er &ress're are te 4ain concern of re"enge
trage$#. an$ are central to its contin'ing a&&eal% Re"enge is
essentiall# a 4oral $ile44a= so'l$ a 2ronge$ "icti4 (eco4e an
a"enger. ser"ing ancient ono'r co$es to seek an e#e for an e#e an$
a toot for a tootL Or so'l$ e or se lea"e $i"ine 5'stice an$ te
forces of '4an la2 to $o teir 2orkL To seek "engeance 4a# set in
4otion a cain of retri('tion an$ "iolence. as 2e see again an$ again
in tese &la#s% Yet if 2aiting for Go$ or 2orl$l# a'torities to take
action a&&ears fr'itless. a "icti4 is likel# to feel co4&elle$ (# grief
an$ a sense of in5'r# to take '& te ca'se of re"enge 9 e"en 2ile
&ainf'll# conscio's tat to $o so 4a# (e to flo't te la2s of (ot
ea"en an$ eart% In te fo'n$ing 2ork of te genre. The Spanish
Tragedy. tese &ress'res &ro$'ce o't&o'rings of grief tat (eca4e
0F+
Se- and 'eath: Re)enge Tragedy
(ot &o&'lar an$ notorio's on te Renaissance stage% Hieroni4o
4o'rns is 4'r$ere$ son= 6O e#es. no e#es. ('t fo'ntains fra'gt
2it tearsB K O life. no life. ('t li"el# for4 of $eatB K O 2orl$. no
2orl$. ('t 4ass of &'(lic 2rongs. K Conf'se$ an$ fille$ 2it
4'r$er an$ 4is$ee$s7%
I
Tis eigtene$ retoric in"ites te
a'$ience to relis its artifice. an$ 2as eas# to &aro$#= (# 01,I.
2en J#$7s &la# 2as a $eca$e or so ol$. ;onson 4a$e a foolis
caracter in E)ery Man in his &!mo!r a fan=
In$ee$e. ere are a n'4(er of fine s&eeces in tis (ooke= /h
eyes, no eyes b!t fo!ntaines fra!ght with tearesB tere7s a conceit=
Fo'n3taines fra'gt 2it teares% /h life, no life, b!t li)ely forme of
death= is7t not e:cellentL /h world, no world, b!t masse of p!bli0!e
wrongsB O Go$s 4ee= conf!sde and fild with m!rther and
misdeeds% Is7t not si4&l# te (est tat e"er #o' ear$L
,
Clearl# ;onson 4eans to 4ock. ('t tis &assage also tells 's o2
"er# &o&'lar an$ fa4iliar The Spanish Tragedy 2as o"er a long
&erio$% In$ee$. ;onson i4self. 2o acte$ for a ti4e in is earl#
career. see4s to a"e &la#e$ Hieroni4o in te earl# 01,+s. an$
so4e ten #ears on. in 0E+0 an$ 0E+*. acce&te$ &a#4ents fro4
Pili& Henslo2e for 2riting a$$itions to tis "er# &la#%
0+
Henslo2e7s $iar# recor$s t2ent#3nine &erfor4ances of The
Spanish Tragedy (et2een 01,* an$ 01,G alone. an$ it contin'e$
in re&ertor# tro'g to te 0EF+s% Tis en$'ring s'ccess e"i$entl#
o2e$ 4'c to te e4otional a&&eal of its grie"ing &rotagonistB in
fact it 2as often kno2n si4&l# as &ieronimo%
Te 4oral an$ e4otional &ress'res on Hieroni4o $ri"e i4 to
4a$ness. 2ic (eca4e anoter stock feat're of re"enge trage$#%
Fer$inan$ in The '!chess of Malfi as (een cons'4e$ (# l'(ri3
cio's o(session 2it is sister7s se:'alit#B ne2s of er $eat ti&s
i4 o"er te (rink of sanit# into l#cantro&ia. 2ic is $octor
e:&lains in a 2on$erf'll# 4aca(re an$ s'rreal &assage=
In tose tat are &ossesse$ 2it7t tere o7erflo2s
S'c 4elancol# '4o'r. te# i4agine
Te4sel"es to (e transfor4O$ into 2ol"es.
0F0
Helen Hackett
Steal fort to c'rc#ar$s in te $ea$ of nigt.
An$ $ig $ea$ (o$ies '&B as t2o nigts since
One 4et te D'ke. 7(o't 4i$nigt in a lane
Aein$ Saint Mark7s c'rc. 2it te leg of a 4an
!&on is so'l$erB an$ e o2le$ fearf'll#B
Sai$ e 2as a 2olf. onl# te $ifference /as
a 2olf7s skin 2as air# on te o'tsi$e. His
on te insi$e%
)1%*%I90I-
To s'4 '&. te ingre$ients tat caracterise$ Eli<a(etan an$
;aco(ean re"enge trage$# an$ s'staine$ its &o&'larit# o"er a long &erio$
incl'$e$ artf'l 4o$es of $eat. $is4e4(ere$ (o$#3&arts. gosts.
ingenio's "illain#. 4oral a4(i"alence. e4otional e:cess. an$ 4a$ness%
Alrea$# (# 01,, te genre 2as s'fficientl# for4'laic to (e &aro$ie$=
so4e $a4n$ t#rant to o(taine a cro2ne.
Sta(s. angs. i4&o#sons. s4oters. c'ttet
troats. An$ ten a Cor's too co4es o2ling in.
An$ tels 's of te 2orr#ing of a cat.
Ten of a filtie 2ining gost.
La&t in so4e fo2le seete. or a leater &elc.
Co4es skrea4ing like a &igge alfe st'ckt.
An$ cries Vindicta. re"enge. re"enge%
00
Ho2e"er. te fact tat its e:cess often ti&&e$ o"er into a(s'r$it# $oes not
see4 in an# 2a# to a"e affecte$ te &o&'larit# of re"enge trage$#B if
an#ting. te o&&osite is tr'e% Man# re"enge trage$ies e"en ackno2le$ge
teir o2n co4ic &otential (# 4o"ing to2ar$s self3&aro$#. or incor&orate
co4ic ele4ents in or$er to intensif# teir orrific effects%
UNEASY LAUGHTER
Tere is so4eting ri$ic'lo's as 2ell as sinister a(o't te $escri&3
tion of te l#cantro&ic Fer$inan$ in The '!chess of Malfi= a
o2ling D'ke 2it a $is4e4(ere$ leg sl'ng o"er is so'l$er% It is
in kee&ing 2it Fer$inan$7s earlier tricks 9 2ile still no4inall#
0F*
Se- and 'eath: Re)enge Tragedy
sane 9 2it $ea$ 4en7s an$s an$ cor&se3effigies. 2ic 2ere a
sa"age kin$ of &ractical 5oke% Re"enge trage$# in fact often teeters on
te (rink of co4e$#% Cri4inals in The Spanish Tragedy an$ The
Re)enger*s Tragedy 5est an$ &'n i4&'$entl# on teir 2a# to te
gallo2s. tinking te# are going to (e sa"e$ (# a last34in'te inter3
"ention (# teir confe$erates. onl# to $isco"er a(r'&tl# tat te# are
4istaken )Spanish Tragedy. C%EB Re)enger*s Tragedy. C%F-% S'c
4o4ents a&&l# co4ic tecni8'es of tricker#. 4is'n$erstan$ing an$
4isti4ing to tragic sit'ations% At oter ti4es. re"enge trage$# is self3
conscio's a(o't te co4ic &otential of its ten$enc# to e:cess. $ealing
as it $oes in $erange$ (ea"io'r. inflate$ retoric. &er"erse
s&ectacles of $eat. an$ &iles of cor&ses% Te (o4(astic st#le of
The Spanish Tragedy lent itself to &aro$#B s'(se8'ent &la#s often
&re3e4&t 4ocker# (# engaging in self3&aro$#% T's te
$e(a'ce$ co'rtl# (roters of The Re)enger*s Tragedy. a"ing
faile$ to inter3ce&t te or$er for teir (roter7s e:ec'tion. recei"e
is se"ere$ ea$ in ca4& an$ farcical st#le=
AMAITIOSO= /ose ea$7s tat tenL
OFFICER= His 2o4 #o' left co44an$ for. #o'r o2n (roter7s%
P&e takes the head from the bag and displays itQ
AMAITIOSO= O'r (roter7sM
O f'riesM
S!PERNAC!O= Plag'esM
AMAITIOSO= Conf'sionsM
S!PERNAC!O= DarknessM
AMAITIOSO= De"ilsM
S!PERNAC!O= Fell it o't so acc'rse$l#L
AMAITIOSO= So $a4ne$l#L
S!PERNAC!O Pto /fficerQ= Nillain. I7ll (rain tee 2it it%
OFFICER= O. 4# goo$ lor$%
)F%0%G*9G-
Te a(o"e scene is likel# to &ro"oke in an a'$ience a sligtl# 8'eas#
la'gter. self3conscio's of its o2n i4&ro&riet#% A $eca$e or so earlier
Sakes&eare a$ alrea$# e:&lore$ te &otential of 'neas# la'gter in
Tit!s (ndronic!s. an$ in$ee$ a$ &'se$ it 4'c f'rter.
0FC
Helen Hackett
co4(ining e:cessi"e orror 2it $ark 4irt to &o2erf'l effect% Tit's
as (een confronte$ 2it te s&ectacle of is $a'gter La"inia. 2o
as (een ra&e$ an$ 2ose tong'e an$ an$s a"e (een a4&'tate$
(# er ra&ists% Tit's7s sons are a(o't to (e e:ec'te$B e is tol$ tat if
e c'ts off is o2n an$ an$ sen$s it to te king. te# 2ill (e s&are$%
He $'l# se"ers an$ sen$s is an$. ('t te# are e:ec'te$ an#2a#.
an$ a 4essenger ret'rns 2it (ot te an$ an$ teir t2o ea$s%
Tit's7s reaction is si4&l# la'gter= 6Ha. a. aM7 It is one of te 4ost
socking an$ $ist'r(ing 4o4ents in tis notorio'sl# socking &la#%
His (roter asks 6/# $ost to' la'gL It fits not 2it tis o'r%7 Tit's
re&lies. 6/#. I a"e not anoter tear to se$7 )C%*%*EC9F-% Re"enge
trage$# 'n$erstan$s te close &ro:i4it# of orror an$ a(s'r$it#B its
caracters an$ sit'ations are $ri"en (e#on$ te nor4al (o'n$aries of
$ecor'4. an$ genre. to a &lace 2ere grief an$ la'gter 4eet in a
&rofo'n$l# 'nco4forta(le (len$% Its car3acteristic 4o$e is te
reckless e4(race of e:tre4it#%
0*
WOMEN: HEROINES OR WHORES?
Re"enge trage$# is also 4arke$ (# strong interest in te caracters an$
4oral $ile44as of 2o4en. an$ (# te co4&le: "ie2s 2ic it $e"elo&s of
te fe4ale se:% /e(ster. for instance. &lace$ 2o4en at te centre of is
t2o greatest &la#s. The +hite 'e)il an$ The '!chess of Malfi% In te first
of tese te eroine. Nittoria Coro4(ona. is te 62ite $e"il7 of te title=
not 4erel# a fair "illainess. ('t a co4&elling 4i:t're of contra$ictor#
caracter traits% Se is an a$'lteress 2o is i4&licate$ in 4'r$er. a
2o4an of &rofo'n$ i44oralit#. #et se 2ins te a'$ience7s a$4iration
an$ e"en s#4&at# (# 4eans of er co'rage an$ retorical skill% In
/e(ster7s ne:t 2ork. te D'cess of Malfi (reaks social co$es in er
for2ar$ 2ooing an$ in 4arr#ing er ste2ar$ against te 2ises of er
4ale relati"es. #et te a'$i3ence cannot resist te en$earing sincerit# an$
2ar4t of er relationsi&s 2it er 's(an$ an$ cil$ren. an$ er $ignit#
an$ stea$fastness in te face of &ersec'tion% Te 4ore er increasingl#
cra<e$ (roter tor4ents er 2it cor&se3effigies. a 4as8'e of 4a$4en.
an$ treats of &ainf'l $eat. te 4ore no(le an$ e4otionall# a'tentic
se (eco4es. $eclaring 6I a4 D'cess of Malfi still7 )F%*%0CF-%
0FF
Se- and 'eath: Re)enge Tragedy
Re"enge trage$# often cele(rates strong 2o4en like tese. an$
also $e"elo&s s#4&at# for te 2a# in 2ic 2o4en are treate$ as
co44o$ities in a 4arriage34arket% Isa(ella in +omen %eware
+omen. for e:a4&le. co4&elle$ (# er fater to 4arr# a (ooris an$
i$iotic ('t 2ealt# s'itor. la4ents. 6O. te eart3(reakings K Of
4isera(le 4ai$s 2ere lo"e7s enforce$M K % % % Men ('# teir sla"es.
('t 2o4en ('# teir 4asters7 )0%*%0EI9,. 0GI-% Yet at te sa4e ti4e
re"enge trage$# also &ro$'ces so4e of te 4ost (itter 4isog#n# to
(e fo'n$ in Renaissance $ra4a% E"en te D'cess of Malfi. to'g
generall# &resente$ as attracti"e an$ eroic. is 4a$e te "icti4 of a
coarse &ractical 5oke% To e:&ose er first &regnanc#. Aosola (rings er
earl#3ri&ene$ a&ricots to satisf# er cra"ingsB se gorges erself on
te4. onl# to learn tat te# 2ere ri&ene$ in orse3$'ng. an$ se
lea"es te stage to (e sick% Her "o4iting (rings on er la(o'r. an$
tro'go't te e&iso$e te &regnant fe4ale (o$# see4s to (e "ie2e$
as an o(5ect of 4ocker# an$ $isg'st )*%0%0*09EE-% Te 4ain action of
te &la# is &'nct'ate$ (# Aosola railing against 2o4en= 6Tere 2as a
la$# in France tat. a"ing a$ te s4all&o:. fla#e$ te skin off er
face to 4ake it 4ore le"elB an$ 2ereas (efore se looke$ like a
n't4eg3grater. after se rese4(le$ an a(orti"e e$geog7 )*%0%*F9G-%
He '&(rai$s an ol$ la$# for 'sing cos4etics. an$ tells er. 6I 2o'l$
sooner eat a $ea$ &igeon. taken fro4 te soles of te feet of one sick
of te &lag'e. tan kiss one of #o' fasting7 )*%0%CF9E-%
0C
In &assages
like tese 2o4en are i$entifie$ 2it te fles. an$ are 4a$e to
&ersonif# a 4oral e8'ation. f'n$a4ental to re"enge trage$#. (et2een
se: an$ $eat% Dee&3roote$ iconogra&# reacing (ack to te Fall is
in"oke$. as in a &assage fro4 +omen %eware +omen= 6/en I
(eol$ a glorio's $angero's str'4&et K S&arkling in (ea't#. an$
$estr'ction too. K Aot at a t2inkling. I $o liken straigt K Her (ea'tifie$
(o$# to a goo$l# te4&le K Tat7s ('ilt on "a'lts 2ere carcasses lie
rotting7 )C%0%,19,-%
Re"enge trage$#. ten. see4s $ee&l# $i"i$e$ an$ e"en self3
contra$ictor# in its "ie2 of 2o4enB #et it is 'n$enia(l# fascinate$ (#
te fe4ale se:% Man# of te 4ost 4e4ora(le scenes in te genre are
&rofo'n$ e:&lorations of 2o4en7s 4oral $ile44as an$ inner t'r4oils%
A &o2erf'l e:a4&le is Aeatrice3;oanna in The #hangeling )0E**- (#
To4as Mi$$leton an$ /illia4 Ro2le#% Se &a#s er
0F1
Helen Hackett
ser"ant De Flores to 4'r$er te 4an to 2o4 se is (etrote$ so
tat se can 4arr# Alse4ero. 2it 2o4 se as fallen in lo"e at
first sigt% De Flores as a (a$l# (le4ise$ face. an$ is regar$e$
(# Aeatrice3;oanna 2it "iolent $isg'stB 2en se $ro&s a glo"e
an$ e &icks it '&. se gi"es i4 te &air. sa#ing. 6Te# to'c 4#
an$ no 4ore= K % % % Take 7e4 an$ $ra2 tine o2n skin off 2it 7e47
)0%0%*C*9F-% Se sees De Flores 4erel# as an a&&ro&riate tool to
carr# o't te $ark $ee$ of 4'r$er. an$ as no i$ea tat tere
4igt (e an# f'rter conse8'ences for er% De Flores &resents er
2it te $ea$ 4an7s se"ere$ finger. one of tose (o$il# frag4ents
carac3teristic of re"enge trage$# 2ic are la$en 2it 4eaning
an$ fore(o$ingB in tis case it is &allic as 2ell as 4aca(re%
Aeatrice is socke$. an$ 2en De Flores is offen$e$ (# er
atte4&ts to &a# i4 off. se can onl# re&l#. 6I 'n$erstan$ tee not7
)C%F%C+. G+-% /en e f'rter 4akes clear tat e inten$s to
$eflo2er er. se fee(l# atte4&ts to take ref'ge in fe4inine
$ecor'4. an$ in rank= 6T# lang'age is so (ol$ an$ "icio's K I
cannot see 2ic 2a# I can forgi"e it K /it an# 4o$est# % % % K
Tink ('t '&on te $istance tat creation K Set 7t2i:t t# (loo$ an$
4ine. an$ kee& tee tere7 )C%F%0*E9I. 0CC9F-%
In tis 4asterf'll# orcestrate$ scene. Aeatrice3;oanna7s #&ocris#
an$ affectation t'rn De Flores. a "icio's 4'r$erer an$ &otential ra&ist.
into a "icti4 of in5'stice an$ te "oice of tr't an$ onest#. e"en as at
te sa4e ti4e 2e feel er fear of tis $ee&l# sinister fig're. an$ er
$es&eration as se 2riggles on a ook of er o2n 4aking% Finall#.
se is force$ to ackno2le$ge tat se is. as De Flores states. 6a
2o4an stee&e$ in (loo$7 an$ 6te $ee$7s creat're7 )C%F%0*,. 0F+-B er
actions a"e 4a$e te4 e8'als an$ (o'n$ te4 togeter irre"oca(l#%
Fro4 tis &oint se is ine:ora(l# set on a &at2a# to ell. as se an$
De Flores (eco4e &artners in f'rter cri4es% Se en$s te &la# 2it a
$e"astating s&eec of self3loating an$ self3anniilation. a$$resse$ to
er fater. in 2ic se re$'ces erself to an agent of &oll'tion an$
$isease. to (e e:&elle$ as 4ere (o$il# 2aste= 6O co4e not near 4e.
sir% I sall $efile #o'% K I a4 tat of #o'r (loo$ 2as taken fro4 #o' K
For #o'r (etter ealt% Look no 4ore '&on7t. K A't cast it to te gro'n$
regar$lessl#B K Let te co44on se2er take it fro4 $istinction7
)1%C%0F,91C-% Aeatrice3
0FE
Se- and 'eath: Re)enge Tragedy
;oanna is re&resente$ in ter4s 2ic clearl# $ra2 '&on a 4isog#3
nistic tra$ition of 2o4an as $'&licito's an$ &rone to $e&ra"it#B #et
te &s#cological $e&t an$ co4&le:it# of er re&resentation also
create a co4&elling $ra4atic role%
Intense an$ i4&ressi"e fe4ale roles like te ones $isc'sse$
ere (eco4e e"en 4ore re4arka(le 2en 2e re4e4(er tat te#
2ere &la#e$ (# (o# actors. a &eno4enon tat 2ill (e $isc'sse$
(elo2 in ca&ter I%
WHY REVENGE TRAGEDY?
/e 4a# 2ell feel a nee$ to acco'nt in so4e 2a# for te efflores3
cence of re"enge on te Renaissance stage. an$ for te &artic'lar
4or(i$it#. sensationalis4. an$ 4oral t'r('lence of tis gro'& of &la#s%
So4e a"e seen te4 as a reflection of te religio's t'r4oils of te
late si:teent an$ earl# se"enteent cent'ries% It can (e arg'e$ tat
te# e:&ress a kin$ of Cal"inist fatalis4. a (elief tat eac in$i3"i$'al
is ine:ora(l# &re$estine$ (# $i"ine $ecree to en$ '& in ea"en or ell.
an$ tat atte4&ts to infl'ence e"ents (# te e:ercise of in$i3"i$'al 2ill
are $el'sor# an$ $oo4e$% Tis 2a# of tinking see4s to fit 4an# of
Mi$$leton7s trage$ies. an$ also /e(ster7s= te D'cess of Malfi $ies
2it er e#es fir4l# '&on ea"en7s gates. an$ is &res'43a(l# one of
te elect )F%*%**F-. 2ereas oter caracters $ie 6in a 4ist7. in a state
of (lin$ness an$ conf'sion tat s'ggests an o&&o3site $estination
)+hite 'e)il. 1%E%*1,B '!chess of Malfi. 1%1%,C-% Nittoria in The +hite
'e)il $eclares tat 6M# so'l. like to a si& in a (lack stor4. K Is $ri"en I
kno2 not 2iter7 )1%E%*FG9I-. 2ile Aosola in The '!chess
&roclai4s. 6O. tis gloo4# 2orl$M K In 2at a sa$o2. or $ee& &it of
$arkness. K Dot. 2o4anis an$ fearf'l. 4ankin$ li"eM7 )1%1%,,90+0-%
0F
Certainl# re"enge &la#s e"ince a strong anti3Catolicis4= te# ten$
to (e set in Ital# or S&ain an$ to feat're a$'ltero's an$ Maci3
a"ellian Car$inals% Englis Protestant "ilification of Catolics as
i$olaters of te /ore of Aa(#lon create$ a :eno&o(ic re&'tation for
Catolic co'rts an$ cities as $ens of "ice% Tis is a4&lifie$ in tese
&la#s to &ro$'ce a nigt4aris fantas#32orl$ of 'n(ri$le$ self3
in$'lgence. r'tless self3a$"ance4ent. an$ $ark $ee$s of cr'elt#%
01
0FG
Helen Hackett
Yet at te sa4e ti4e tis 4a# (e rea$ as a "eile$ co44entar# on te
Englis co'rt. es&eciall# in &la#s 2ritten after te accession of ;a4es
I. 2o 2as regar$e$ (# so4e Protestants as o"er3frien$l# to Catolic
nations in is foreign &olic#. an$ 2ose co'rt 2as &ercei"e$ as
4orall# $issol'te (# co4&arison 2it Eli<a(et7s% A $escri&tion (# Sir
;on Harington of a 4as8'e &erfor4e$ in 0E+E to entertain Jing
;a4es an$ is "isiting (roter3in3la2. Jing Cristian IN of Den4ark.
so'n$s 'ncannil# like te o"er3(lo2n an$ cala4ito's 4as8'e tat
en$s +omen %eware +omen )as 4entione$ earlier-. to'g in te
real3life case te &artici&ants fell $o2n $r'nk rater tan $ea$% A la$#
&la#ing te R'een of Se(a a&&roace$ te t2o 4onarcs to &resent
te4 2it gifts. ('t tri&&e$ on te ste&s an$ fell on to& of Jing
Cristian. co"ering is gar4ents 2it er offer3ings of 62ine. crea4.
5ell#. (e"erage. cakes. s&ices. an$ oter goo$ 4atters7% Te king trie$
to $ance 2it er ('t fell o"er. an$ 2as le$ a2a# to lie $o2n% La$ies
re&resenting Ho&e an$ Fait ca4e ne:t. ('t forgot teir lines. an$
staggere$ a2a#B Carit# 4anage$ a fe2 incoerent 2or$s. ten
re5oine$ Ho&e an$ Fait 2o 2ere 6(ot sick an$ s&e2ing in te lo2er
all7% Peace 64ost r'$el# 4a$e 2ar 2it er oli"e (ranc. an$ lai$ on
te &ates of tose 2o $i$ o&&ose er co4ing7% Harington clearl#
en5o#e$ te co4e$# of te s&ectacle. ('t at te sa4e ti4e. alto'g
i4self ar$l# of an ascetic $is&o3sition. e so'n$e$ an a$4onitor#
note= 62e are going on. erea(o'ts. as if te $e"il 2as contri"ing
e"er# 4an so'$ PsicQ (lo2 '& i4self. (# 2il$ riot. e:cess. an$
$e"astation of ti4e an$ te4&erance7%
0E
More serio'sl#. inci$ents like te 4'r$er of Sir To4as O"er3('r#
$i$ irre"oca(le $a4age to te re&'tation of te co'rt% O"er('r# 2as a
frien$ an$ confi$ant of ;a4es7s fa"o'rite Ro(ert Carr% Carr took as is
4istress Frances Ho2ar$. Co'ntess of Esse:. an$ er 4arriage 2as
ann'lle$. on entirel# 'ncon"incing gro'n$s. in &rocee$3ings 2ic
attracte$ 4'c &r'rient interest% Carr 4arrie$ er. against O"er('r#7s
a$"ice. an$ 2as raise$ (# ;a4es to te title of Earl of
So4erset% On ;a4es7s or$ers. O"er('r# 2as consigne$ to te To2er
of Lon$on. 2ere e 4#sterio'sl# $ie$ in Se&te4(er 0E0C% R'4o'rs
('ilt '& an$ in 0E0E ;a4es 2as co4&elle$ to or$er an in"estiga3tion.
2ic fo'n$ tat O"er('r# a$ (een &oisone$ on te Co'ntess of
So4erset7s co44an$. an$ tat er 's(an$ a$ (een in"ol"e$
0FI
Se- and 'eath: Re)enge Tragedy
in te &lot% Ro#al a'torit# itself 2as se"erel# $a4age$ (# te
scan$al. not onl# (eca'se ;a4es7s anti&at# to2ar$s O"er('r#
a$ (een a&&arent. ('t also (eca'se te king7s &'(lic (ea"io'r
to2ar$s Carr. e"er since is rise to &ro4inence in 0E+G. a$ 4a$e
it o("io's tat e 2as infat'ate$ 2it i4. an$ no2 &ro"oke$ a
ne2 2a"e of ri(al$ co44ent%
0G
It is far fro4 'nlikel#. ten. tat
&la#s s'c as The '!chess of Malfi. first &erfor4e$ in s&ring 0E0F
an$ o&ening 2it a &rocession of te lea$ing fig'res of te co'rt
of Malfi 2ic &ro"okes ca'stic co44entar#. incl'$e$ a strong
4eas're of reaction to te c'rrent state of te Englis co'rt%
0I
Antonio $eclares tat 6a &rince7s co'rt K Is like a co44on fo'ntain.
2ence so'l$ flo2 K P're sil"er $ro&s in generalB ('t if7t cance K
So4e c'rse$ e:a4&le &oison7t near te ea$. K Deat. an$
$iseases tro'g te 2ole lan$ s&rea$7 )0%0%00901-%
T's it is not $iffic'lt to fin$ in re"enge trage$ies "eile$ criti8'e
of to&ical e"ents% ;onatan Dolli4ore as gone f'rter. fin$ing in
Renaissance trage$# an en$e4ic ra$icalis4= 6a s'("ersi"e kno2l3
e$ge of &olitical $o4ination. a kno2le$ge 2ic interrogate$
&re"ailing (eliefs. Pan$Q s'(4itte$ te4 to a kin$ of intellect'al
"an$alis47%
0,
For all its fantastical an$ nigt4aris 8'alities.
re"enge trage$# can (e 'n$erstoo$ as a res&onse to i$eological
&ress'res in te real 2orl$ of its ti4e%
0F,
Cover illustration:
Portrait of a 21-year old
man, possibly
Christopher Marlowe,
1585 (The Master and
Fellows of Corpus
Christi Collee,
Cambride!
"ha#espeare is a towerin presen$e in %nlish and
indeed lobal $ulture& 'et $onsidered alonside his
$ontemporaries he was not an isolated
phenomenon, but the produ$t of a period of
astonishin $reati(e fertility& This was an ae when
new media ) popular drama and print ) were
sei*ed upon a(idly and in(enti(ely by a eneration
of e+$eptionally talented writers& ,n her spar#lin
new boo#, -elen -a$#ett e+plores the histori$al
$onte+ts of %nlish .enaissan$e drama by situatin
it in the wider history of ideas& "he tra$es the
oriins of .enaissan$e theatre in $ommunal
reliious drama, $i(i$ paeantry and $ourt
entertainment and (i(idly des$ribes the playin
$onditions of %li*abethan and /a$obean
playhouses& %+aminin Marlowe, "ha#espeare and
/onson in turn, the author assesses the distin$ti(e
$ontribution made by ea$h playwriht to the
$reation of %nlish drama& "he then turns to
re(ene traedy, with its othi$ poetry of se+ and
death0 $ity $omedy, domesti$ traedy and
trai$omedy0 and ender and drama, with female
roles played by boy a$tors in $ommer$ial
playhouses while women parti$ipated in drama at
$ourt and elsewhere& The boo# pla$es .enaissan$e
drama
in the e+$itin and (ibrant $osmopolitanism
of si+teenth-$entury 1ondon&
Helen Hackett is Professor of %nlish at 2ni(ersity Collee
1ondon& -er boo#s in$lude Shakespeare and Elizabeth: The
Meeting of Two Myths (2334! and Women and Romance Fiction
in the English Renaissance (2333!&
56 ri$hly
rewardi
n and
immens
ely
readable
boo# by
a leadin .enaissan$e
s$holar at the top of her
ame&7
.en8 9eis, Professor of %nlish,
2ni(ersity Collee 1ondon
5-elen -a$#ett7s short
history is in fa$t remar#ably
wide ranin, in$lusi(e and
oriinal& The boo# is a pleasure to read
throuhout& "tudents for whom this
will be a first introdu$tion to
.enaissan$e drama are fortunate
indeed&7
:atherine ;un$an-/ones, F."1, "enior
.esear$h Fellow in %nlish, "omer(ille
Collee, <+ford
www.ibt
auris.co
m