English Renaissance Drama(1)

8/12/2019 English Renaissance Drama(1)

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A SHORT

HISTORY

OF ENGLISH

RENAISSANCE

DRAMAHelen Hackett


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Helen Hackett is Professor of Englis at !ni"ersit# CollegeLon$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-%


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I.B.TAURIS SHORT HISTORIES

"$%$Ta!ris Short &istories is an a'toritati"e an$ elegantl# 2rittenne2

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 &istoriesco4&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&icas (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#


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co4&le: an$ glo(alise$ $igital age%


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A Short History of . . .

the American Civil WarPaul 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 Sheffield)

the Mughal Empire Michael Fisher (Oberlin College)

Muslim Spain Alex J Novikoff (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


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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)


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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 $'e 2eigt to itsclassical fore(ears. &artic'larl# Pla't's an$ 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


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ENGLISH

RENAISSANCEDRAMAHelen Hackett


9/27

For Angela Tr'e4an an$ Cristine ;o#.

2it tanks for teir ins&iring teacing%

P'(lise$ in *+0 (# I%%Ta'ris Co Lt$

Sale4 Roa$. Lon$on /* !

01 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. 01 Fift A"en'e. Ne2 York NY 0++0+

Corigt *+0 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 Corigt.

Designs an$ Patent Act 0,%

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. &otocoing. recor$ing or oter2ise. 2ito't

te &rior 2ritten &er4ission of te &'(liser%

ISN= , 0 1 1 0 )(-

ISN= , 0 1 )&(-

A f'll CIP recor$ for tis (ook is a"aila(le fro4 te ritis Li(rar# Af'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


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Printe$ an$ (o'n$ (# CPI Gro'& )!J- Lt$. Cro#$on. CR+ YY


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Contents

Ackno2le$ge4ents i:

A Note on te Te:t :i

Intro$'ction= Renaissance an$ Refor4ation 0

Ti4eline *0

Ca&ter 0= Englis Dra4a efore te 01,+s *

Ca&ter *= Ho2 Pla#s /ere Ma$e

Ca&ter = Marlo2e

Ca&ter = Sakes&eare ,

Ca&ter 1= ;onson 00

Ca&ter = Se: an$ Deat= Re"enge Trage$# 01

Ca&ter = Pla#ing 2it Genre= Cit# Co4e$#.

Do4estic Trage$#. Tragico4e$# 01+

Ca&ter = Pla#ing 2it Gen$er= o# Actors.

Fe4ale Perfor4ers. Fe4ale Dra4atists 0

E&ilog'e= Te Afterli"es of Renaissance Dra4a 0,

Notes *++

i(liogra **+

In$e: **


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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,-%

In anoter &la#. a $eca$e later. a #o'ng 4an a$$resses te sk'll ofis 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 Tragedyof 0+-%0Else2ere. 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$ i(le

an$ $ies );on /e(ster7s +hite 'e)il. c$00*. an$ '!chess of Malfi.

00-%*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. 0*,9-%

S'c are te orrific an$ &er"erse s&ectacles &resente$ (# a&rolific genre of Eli


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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 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$ 0+. an$ &ro$'ce$ s'c 4aster&ieces as

Sakes&eare7s &amlet )0++- 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$ies of Seneca% To4as Ne2ton in 010 e$ite$ a collecte$

"ol'4e of Englis translations of Seneca )so4e of 2ic a$ also

0


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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 ofEnglis 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


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Helen Hackett

of '4an nat're. an$ is skill in e:&ressing tis in (iting i4ager# an$

arresting $ra4atic s&ectacles )see ca&ter (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%0+-% 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(le7 se 'n$erstan$a(l# e:clai4s )%0%1-% 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 )%0%19+-% 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 erlo23(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 eatrice3;oanna

in The #hangeling)0**-B te# are

0


16/27


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% &amletis 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%

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 Malfias a $ifferent kin$ of gost= after te D'cess7s

$eat in Act . se ret'rns as a s&ectral eco in Act 1 scene 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


17/27

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%%09-

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% in$ice in The Re)enger*s

Tragedyo&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 osola 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 isessentiall# 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 toot Or so'l$ e or se lea"e $i"ine 5'stice an$ te

forces of '4an la2 to $o teir 2ork 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

0+


18/27


(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 $eatB K O 2orl$. no2orl$. ('t 4ass of &'(lic 2rongs. K Conf'se$ an$ fille$ 2it

4'r$er an$ 4is$ee$s7% Tis eigtene$ retoric in"ites te

a'$ience to relis its artifice. an$ 2as eas# to &aro$#= (# 01,.

2en J#$7s &la# 2as a $eca$e or so ol$. ;onson 4a$e a foolis

caracter in E)eryMan 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 teares B tere7s a conceit=

Fo'n3taines fra'gt 2it teares% /h life, no life, b!t li)ely forme of

death= is7t not e:cellent /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$,

Clearl# ;onson 4eans to 4ock. ('t tis &assage also tells 's o2

"er# &o&'lar an$ fa4iliar The Spanish Tragedy2as 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 0+0 an$ 0+*. 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, alone. an$ it contin'e$

in re&ertor# tro'g to te 0+s% Tis en$'ring s'ccess e"i$entl#

o2e$ 4'c to te e4otional a&&eal of its grie"ing &rotagonistB infact 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 Malfias (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 transfor4$ into 2ol"es.

00


19/27

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$nigt in a laneein$ 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%*%90-

To s'4 '&. te ingre$ients tat caracterise$ Eli


20/27


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$#% Cri4inals in The Spanish Tragedy an$ TheRe)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. %B Re)enger*s Tragedy. %-% 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=

AMITIOSO= /ose ea$7s tat ten

OFFICER= His 2o4 #o' left co44an$ for. #o'r o2n (roter7s%

&e takes the head from the bag and displays itQ

AMITIOSO= O'r (roter7s

O f'ries

S!PERNAC!O= Plag'esM

AMITIOSO= Conf'sions

S!PERAC!O= Darkness

AMITIOSO= De"ils

S!PERAC!O= Fell it o't so acc'rse$l#

AMITIOSO= So $a4ne$l#

S!PERAC!O to /fficerQ= illain. I7ll (rain tee 2it it%

OFFICER= O. 4# goo$ lor$%

)%0%*9-

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.

0


21/27

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. a7 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'g It fits not 2it tis o'r%7 Tit's

re&lies. 6/#. I a"e not anoter tear to se$7 )%*%*9-% 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)ilan$ The '!chessof Malfi% In te first

of tese te eroine. ittoria 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


22/27


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 (oorisan$

i$iotic ('t 2ealt# s'itor. la4ents. 6O. te eart3(reakings K Of

4isera(le 4ai$s 2ere lo"e7s enforce$ K % % % Men ('# teir sla"es.

('t 2o4en ('# teir 4asters7 )0%*%09,. 0-% 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#. osola (rings erearl#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*09-% Te 4ain action of

te &la# is &'nct'ate$ (# osola 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%*9-%

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%9-%0

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 isin"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 ot 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 )%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 eatrice3;oanna in The #hangeling)0**- (#

To4as Mi$$leton an$ /illia4 Ro2le#% Se &a#s er

01


23/27

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$e$(# eatrice3;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%**9-% 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 4eaningan$ fore(o$ingB in tis case it is &allic as 2ell as 4aca(re%

eatrice 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

)%%+. +-% /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# % % % KTink ('t '&on te $istance tat creation K Set 7t2i:t t# (loo$ an$

4ine. an$ kee& tee tere7 )%%0*9. 09-%

In tis 4asterf'll# orcestrate$ scene. eatrice3;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$ge tat se is. as De Flores states. 6a2o4an stee&e$ in (loo$7 an$ 6te $ee$7s creat're7 )%%0*,. 0+-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 't cast it to te gro'n$

regar$lessl#B K Let te co44on se2er take it fro4 $istinction7

)1%%0,91-% eatrice3

0


24/27


;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 alsocreate 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 %

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 )%*%**-. 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%%*1,B '!chess of Malfi. 1%1%,-% ittoria in The +hite

'e)il$eclares tat 6M# so'l. like to a si& in a (lack stor4. K Is $ri"en Ikno2 not 2iter7 )1%%*9-. 2ile osola in The '!chess

&roclai4s. 6O. tis gloo4# 2orl$ K In 2at a sa$o2. or $ee& &it of

$arkness. K Dot. 2o4anis an$ fearf'l. 4ankin$ li"e7 )1%1%,,90+0-%0

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$olaters of te /ore of a(#lon create$ a :eno&o(ic re&'tation forCatolic 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

0


25/27

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$l# to Catolicnations in is foreign &olic#. an$ 2ose co'rt 2as &ercei"e$ as

4orall# $issol'te (# co4&arison 2it Eli


26/27


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'rto2ar$s Carr. e"er since is rise to &ro4inence in 0+. a$ 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%0 It is far fro4 'nlikel#. ten. tat

&la#s s'c as The '!chess of Malfi. first &erfor4e$ in s&ring 00

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%0

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$&re"ailing (eliefs. an$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%

0,


27/27

Cover illustration:

Portrait of a 21-year oldman, possibly

Christopher Marlowe,

1585 (The Master andFellows 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 $reatie fertility& This was an ae when

new media ) popular drama and print ) weresei*ed upon aidly and inentiely 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, $ii$ paeantry and $ourt

entertainment and iidly 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$tie

$ontribution made by ea$h playwriht to the

$reation of %nlish drama& "he then turns to

reene traedy, with its othi$ poetry of se+ and

death0 $ity $omedy, domesti$ traedy and

trai$omedy0 and ender and drama, with femaleroles played by boy a$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 ondon&

Helen Hackett is Professor of %nlish at niersity Collee

ondon&er boo#s in$lude Shakespeare and Elizabeth: The

Meeting of TwoMyths (2334! andWomen and Romance Fiction

in the English Renaissance (2333!&

6 ri$hly

rewardi

n and

immensely

readable

boo# by

a leadin .enaissan$e

s$holar at the top of her

ame&7.en 9eis, Professor of %nlish,

niersity Collee ondon

elen a$#ett7s short

history is in fa$t remar#ably

wide ranin, in$lusie 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.", "enior

.esear$h Fellow in %nlish, "omerille

Collee,

Documents

English Renaissance Drama(1)