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Further Reading Further Reading EDITIONS Colin Gibson’s Six Renaissance Tragedies, published by Macmillan – now Palgrave (Basingstoke, 1997), includes an excellent general introduction, some rather brief introductory notes to each play, and fairly full explana- tory notes at the end of each text. The volume is comprised of The Spanish Tragedy, The Revenger’s Tragedy, The Changeling, The Duchess of Malfi, ’Tis Pity She’s a Whore and Christopher Marlowe’s Doctor Faustus. Also recommended is Katharine Eisaman Maus (ed.), Four Revenge Tragedies, Oxford World’s Classics series (Oxford University Press, 1995), which collects The Spanish Tragedy, The Revenger’s Tragedy, The Revenge of Bussy d’Ambois (Chapman) and The Atheist’s Tragedy (Tourneur) in an informative, up-to-date edition. Gamini Salgado (ed.), Three Jacobean Tragedies, Penguin edition (London, 1965; revised 1969) comprises The Revenger’s Tragedy, The White Devil, The Changeling. This is now out of date in terms of its introduction, but representative of this period of literary criticism with a focus on moral issues, character ‘psychology’ and tragic flaws. Martin Wiggins has edited a collection of Four Jacobean Sex Tragedies in the Oxford World’s Classics series (Oxford University Press, 1998): The Insatiate Countess (Marston), The Maid’s Tragedy (Beaumont and Fletcher), The Maiden’s Tragedy (Middleton), and The Tragedy of Valentinian (Fletcher). These are texts not covered by this volume, but they all explore similar territory, particularly in terms of gender, power and vio- lence. The Maiden’s Tragedy is particularly worthy of attention in relation to The Revenger’s Tragedy. The standard series of non-Shakespearean early modern plays in single volume form remains the Revels Plays series, currently published by Manchester University Press: Philip Edwards (ed.), The Spanish Tragedy (1977) R. A. Foakes (ed.), The Revenger’s Tragedy (1975) N. W. Bawcutt (ed.), The Changeling (1975) John Russell Brown (ed.), The White Devil (1977) Derek Roper (ed.), ’Tis Pity She’s a Whore (1975) 255 256 FURTHER READING At the time of writing, many in the series were being reprinted in paper- back at reasonable prices. In addition, a Revels Student Edition series was launched in the mid-1990s, using the same authoritative text, but with a slimmed down editorial apparatus: David Bevington (ed.), The Spanish Tragedy (1998) R. A. Foakes (ed.), The Revenger’s Tragedy (1996) N. W. Bawcutt (ed.), The Changeling (1998) John Russell Brown (ed.), The White Devil (1996) Derek Roper (ed.), ’Tis Pity She’s a Whore (1997) The New Mermaid series, published by A. and C. Black (London), is also recommended. Several of their titles have been revised in recent years: J. R. Mulryne (ed.), The Spanish Tragedy (1989) Brian Gibbons (ed.), The Revenger’s Tragedy (1991) Christina Luckyj (ed.), The White Devil (1996) Joost Daalder (ed.), The Changeling (2nd edition, 1990) Brian Morris (ed.), ’Tis Pity She’s a Whore (1988) There are other individual editions worthy of note, such as Simon Barker (ed.), ’Tis Pity She’s a Whore, Routledge English Texts series (London, 1997) and an old spelling version of The Spanish Tragedie ed. Emma Smith for Penguin (London, 1998). For those looking for collections of writers’ works, the Oxford World’s Classics series is the most up to date, although their introductions tend to be fairly brief: John Webster, ‘The Duchess of Malfi’ and Other Plays, ed. René Weis (Oxford University Press, 1998) John Ford, ‘ ’Tis Pity She’s a Whore’ and Other Plays, ed. Marion Lomax (1998) Thomas Middleton, ‘Women Beware Women’ and Other Plays, ed. Richard Dutton (1999) (includes The Changeling but not The Revenger’s Tragedy) The Penguin edition of John Webster, Three Plays, ed. David Charles Gunby (Harmondsworth, 1972) is in need of updating. On the other hand, Five Plays by Thomas Middleton, ed. Bryan Loughrey and Neil Taylor (London: Penguin, 1988) is relatively up to date and includes both The Changeling and The Revenger’s Tragedy. TRADITIONAL CRITICISM The following are either standard works of reference for those researching the genre, or individual essays or books that are seminal in, or representa- tive of, the criticism of the period. For obvious reasons, their approaches tend to differ from the kind of perspectives represented in this volume. Michael Cameron Andrews, This Action of Our Death: The Performance of Death in English Renaissance Drama (Newark: University of Delaware Press, 1989). Relatively traditional in approach, but usefully focusing on the representation of death in plays of the period. FURTHER READING 257 F. T. Bowers, Elizabethan Revenge Tragedy 1587–1642 (Princeton, NJ: Princeton University Press, 1940). Remains the most comprehensive survey of the genre, discussing a number of obscure plays alongside the more familiar ones. M. C. Bradbrook, Themes and Conventions of Elizabethan Tragedy (Cambridge: Cambridge University Press, 1935). Second part includes chapters on Tourneur, Webster, Middleton; Ford is discussed in the final chapter, tellingly entitled ‘The Decadence’. Nicholas Brooke, Horrid Laughter in Jacobean Tragedy (London: Open Books, 1979). Provides some revisionist perspectives on the notion of moral order in the plays, and is excellent for further research into the juxtaposition of the comic and the horrific. Lily B. Campbell, ‘Theories of Revenge in Renaissance England’, Modern Philology, 38 (1931), 281–96. Good, ‘old historicist’ discussion of revenge in its early modern context. T. S. Eliot, Essays on Elizabethan Drama (New York, 1932, 1960). Considers Senecan influence on Kyd and Tourneur. Una Ellis Fermor, The Jacobean Drama, 5th edn (London: Methuen, 1965, first published 1936). Posits a familiar argument at the time that praises writers like Webster and Middelton for their insight into female psychol- ogy – a position vigorously attacked by feminist critics; see for example Jardine, Still Harping, below. Charles A. Hallett and Elaine S. Hallett, The Revenger’s Madness: A Study of Revenge Tragedy Motifs (Lincoln: University of Nebraska Press, 1980). Attempts to ‘universalise’ the genre by seeking out motifs and patterns, with the view that revenge tragedy conveys an archetypal human experience. R. V. Holdsworth (ed.), ‘The White Devil’ and ‘The Duchess of Malfi’: A Casebook (Basingstoke: Macmillan – now Palgrave, 1975). A collection pre-dating the contemporary critical approaches in this New Casebook; includes some reviews of professional productions. R. V. Holdsworth (ed.), Three Jacobean Revenge Tragedies: A Casebook (Basingstoke: Macmillan – now Palgrave, 1990). Essays on The Revenger’s Tragedy, Women Beware Women and The Changeling. In general, the collection does not reflect new critical approaches, although there is a useful essay by John Stachniewski on Calvinism and Middleton’s tragedies. Ian Jack, ‘The Case of John Webster’, Scrutiny, 16 (March 1949). Casts Webster as ‘decadent’, and argues that his plays are full of ‘inconsisten- cies’. Representative of much criticism of the period. Reprinted in the Webster Casebook edited by Holdsworth (see above). Robert Ornstein, The Moral Vision of Jacobean Tragedy (Madison and Milwaukee: University of Wisconsin Press, 1965). See brief discussion of this and Ribner (below) in the Introduction, pp. 6–7. Eleanor Prosser, Hamlet and Revenge, 2nd edn (Stanford, CA: Stanford University Press, 1971). Like Campbell, above, good ‘old historicist’ account dealing with the complex detail of the morality of revenge. Irving Ribner, Jacobean Tragedy: The Quest for Moral Order (London: Methuen, 1962). See Ornstein, above. 258 FURTHER READING L. G. Salingar, ‘Tourneur and the Tragedy of Revenge’, in Boris Ford (ed.), Pelican Guide to English Literature, vol. 2, revised and expanded edn (Harmondsworth: Penguin, 1983), pp. 436–56. Another essay in the moralising tradition. Michael Scott, Renaissance Drama and a Modern Audience (London: Methuen, 1982). Looks in some detail at revivals of plays such as ’Tis Pity and The Revenger’s Tragedy in the late twentieth century. T. F. Wharton, Moral Experiment in Jacobean Drama (Basingstoke: Macmillan – now Palgrave, 1988). Like Brooke, a strong antidote to tra- ditional views (Jack, Ornstein, Ribner) about the moral framework of these plays. CONTEMPORARY CRITICISM: GENERAL Catherine Belsey, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Methuen, 1985). A key text in establishing cultural materialist approaches to the drama. Celia R. Daileader, Eroticism on the Renaissance Stage: Transcendence, Desire and the Limits of the Visible (Cambridge: Cambridge University Press, 1998). Valuable discussion of Middleton and Webster in particu- lar, heavily influenced by Derrida and deconstruction. Alison Findlay, A Feminist Perspective on Renaissance Drama (Oxford: Oxford University Press, 1999). Chapter 2 includes a discussion of the ways in which revenge tragedies tap into fundamental male fears about women. Wendy Griswold, City Comedy and Revenge Tragedy in the London Theatre, 1576–1980 (Chicago: University of Chicago Press, 1986). A socio-cultural interpretation of these two genres in their own time, and at different points in the history of revivals of the plays. James Hogg (ed.), Jacobean Drama as Social Criticism, Salzburg University Studies (Lewiston, NY / Salzburg, Austria: Edwin Mellen Press, 1995). Wide-ranging collection featuring essays on most of the issues and plays discussed in this volume. Lisa Jardine, Still Harping on Daughters: Women and Drama in the Age of Shakespeare
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