6 X 10.5 Long Title.P65

Home , Eastward Hoe

Cambridge University Press 978-0-521-73464-6 - The Cambridge Companion to English Renaissance Tragedy Edited by Emma Smith and Garrett A. Sullivan Index More information

INDEX

Abel, Lionel 159–60 English/European understandings 8, 9, ‘abject other,’ theory of 117 62–4 application to non-Shakespeare tragedy and (proto-)scientiﬁc theory 189 117, 122–3, 126–7, 128, 129–30 rejection of 159 Act to Restrain Abuses of Players (1606) Poetics 62–3, 71 171 Artaud, Antonin 104–5, 107, 113 actor-managers 102–3 Arthur, Prince (son of Henry VII) 31 Addio, Fratello Crudele (1971) 113 Ascham, Roger 6–7, 8, 10 Adorno, Theodor 183 Ashcroft, Peggy 110 Aeschylus Ashland, Oregon, Festival Theatre 103 Agamemnon 60 assassination, debates on permissibility The Eumenides 60 37–8 The Libation Bearers 60 atheism, critical readings grounded in 48 Albertus Magnus, The Book of Secrets 194 The Atheist’s Tragedy (Tourneur) 44–5, Alford, Stephen 36 48–51 Allen, William 38 characterisation 48–51 anaphora 93 critical commentary 48, 50–1 Andrews, Julie 112 modern productions 111, 114 The Angelic Conversation (1985) 123 treatment of anti-revenge code 50–1 Antichrist treatment of death of protagonist 48–50 in contemporary theology 45–6 Auden, W. H. 105 dramatic evocations 46 authenticity (in staging) 103–4 Arden of Faversham (anon.) 12, 19, 21–4, avenger, ﬁgure of see revenger 137, 138, 188–97 attribution to Shakespeare 137 Bacon, Francis 59, 61, 85 characterisation: Alice 22, 194–6; Arden Bacon, Roger 194 22–3; Clarke 188–9, 193, 196–7 Baines, Richard 55, 106–7 impact on audience 197 Baker, Richard 191 performance history 108 Baker, Stanley 226, 233 presentation of murder/discovery 21, 189 Baldwin, William, The Mirror for source material 21, 190–2 Magistrates 5, 34 style 97 Bale, John, King Johan 36 treatment of love as enchantment 194–5 Barker, Howard 108 treatment of subjectivity 74–5 Barksted, William, and Lewis Machin, The treatment of the preternatural 188, 189, Insatiate Countess 92 190–1, 192–4, 196–7 Barnes, Peter 111 Aristophanes, The Acharnians 69 Barton, John 106 Aristotle 58, 69, 84, 183, 184 Bataille, Nicolas 121

261

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-73464-6 - The Cambridge Companion to English Renaissance Tragedy Edited by Emma Smith and Garrett A. Sullivan Index More information

index

Bate, John 193 Bryant, Michael 112 Bate, Jonathan 133, 144 Bunuel,˜ Luis 121 Beale, Simon Russell 107 Burbage, Richard 248 Beard, Thomas 190 Burke, Edmund 175 Beaumont, Francis Burton, Richard 106, 117–18 The Knight of the Burning Pestle 70 Burton, Robert, Anatomy of Melancholy 62 see also ‘Beaumont and Fletcher’ Burton, William Douglas 114 ‘Beaumont and Fletcher’ 102, 111, 133 Byron, George Gordon, Lord 103 Cupid’s Revenge 98 The Island Princess 114 Callaghan, Dympna 246 A King and No King 114, 212, 252 Calvin, John/Calvinism 19, 226–7, 231 The Maid’s Tragedy 65, 95–6, 98, Campbell, Lily B. 155–6 114 Caravaggio (1986) 126 Bellarmine, Robert, Cardinal 56 Cardenio (Shakespeare/Fletcher, missing) Belsey, Catherine 75, 148 111, 114 Bennett, Susan 233 Carroll, Tim 111 Berek, Peter 13 Cary, Elizabeth, biographical detail 212 Bergner, Elisabeth 105 see also The Tragedy of Mariam Berliner Ensemble 105 Castelvetro, Ludovico 9 Betterton, Thomas 102 catharsis, theory of 62–3, 84, 183 Billington, Michael 144 see also drama, therapeutic value Birde, William 163–4 Catholics/Catholicism Blackfriars Theatre 104 attacks on 44, 46 Blair, Tony 129 illicit adherence to 212 blank verse, use of 8, 36, 93–5 school dramas 51, 56 (see also Mercia) bleeding see cruentation censorship 113 Bloom, Harold 132, 147, 148 Cervantes, Miguel de, Don Quixote 111 Blount, Thomas 87, 89, 96 ‘chaﬁng’, vocabulary of 240 Boccaccio, Giovanni 8–9 The Changeling (Middleton/Rowley) 11, 21, De casibus virorum illustrium [The Falls 66, 102, 222–32 of Famous Men] 4, 5, 181 authorship, modern attitudes to 229, Boethius, De consolatione philosophiae [The 230 Consolation of Philosophy] 4 classical heritage 230 Bogdanov, Michael 112 critical commentary 224, 226–7, 229, Bond, Edward, Lear 41 232 Booth, Anthony 129 dual plot, modern attitudes to 229, Bowers, Fredson 58, 156 232 Boyd, Don 129 duration in performance 229 Boyd, Michael 112 ending 228, 230–1 Bradbrook, Muriel 207 impact on audience 228 Bradley,A.C. 74, 133–4, 142 mingling of genres 91–2 Bradshaw, Peter 116–17, 121, 128 modern productions/adaptations 108, Branagh, Kenneth 123, 128 111–12, 126–7, 226, 233 Brecht, Bertolt 104, 105, 107 narrative structure 222–4 Mother Courage 105 naturalist/mannerist elements 229–30 Bromley, Sir Thomas 34 parodic elements 228 Bron, Eleanor 104 racial interpretations 226, 233 Brook, Peter 121, 125, 144 referencing in other works 250 Brooke, Arthur, Romeus and Juliet 6 relationship with Calvinism 226–7 Brooke, Nicholas 95, 113 role in development of revenge tragedy Broude, Ronald 156 222, 232 Brown, Ivor 144 sexual imagery 223–4 Bruster, Douglas 98, 148, 230 treatment of domestic spaces 24–6

262

index

treatment of father–daughter relationship collaborations, modern attitudes to 111–12, 223 229–30 treatment of mistress–servant relationship comedy 27–8, 65 elements of, interspersed with tragedy 89, treatment of ugliness 222, 225–7, 228–9, 91–2, 95–6, 97–8, 102, 113, 167 231–2 personification as character 88–9 see also Middleton’s Changeling see also clowns; mixing of genres; chaos see confusion revenge tragedy, comic elements Chapman, George 111, 133, 176 commedia dell’arte 137 Bussy d’Ambois 38–9, 65, 90, 111, Compulsion (2008) 233 114 confusion (domestic/national), fears of 19 Eastward Hoe (with Jonson and Marston) Connolly, Billy 126 147 conversion, duty of 53 The Revenge of Bussy d’Ambois 38–9, 98, The Cook, The Thief, His Wife & Her Lover 136 (1989) 121–3, 124, 126 characters/characterisation 96–8, 138–42 Cooke, Nigel 111 as dramatic exempla 50–1 Cooper, Helen 5 equivocal 78 Copeau, Jacques 107 recurring types 28, 97–8 corruption (political), as theme of tragedy see also malcontent; revenger; women; 26, 80, 237 titles of plays Cousins, Mark 224–5, 226, 228–9, 231 Chaucer, Geoffrey coverture, law of 214 influence on development of tragedy 3–5, Cox, Alex 109, 116–17, 128–30 8–9 Cox, Brian 144–5, 233 Boece (trans.) 4 cross-dressing 98, 100 ‘The Monk’s Tale’ 3–5 cruentation (bleeding of a corpse in the Troilus and Criseyde 4–5 presence of the murderer) 189–90 Chettle, Henry, The Tragedy of Hoffnung theological/proto-scientific explanations 136 189–90, 193 children’s theatre companies 69 ‘cunning man’, figure of 188–9, 193, 196–7 Christ, dramatic depictions 52 ‘Christian tragedy’, feasibility of 44, 54 Daborne, Robert, A Christian Turned Turk Christianity see Catholicism; Christ; 98 ‘Christian tragedy’; conversion; Dante (Alighieri), The Divine Comedy 38, Edward II; Reformation; religion; The 124 Spanish Tragedy Davenant, William 12 Cicero, M. Tullius 38 Day, Angel 176–7 Cinthio, Giraldi 63 De Grazia, Margreta 136–7 Arrenopia 11 ‘dead mother plot’ 216 Clarke, Samuel 190 death classical mythology, use of figures from 46, onstage, religious implications 44 155–6 personification as character 89, 92, Clemen, Wolfgang 12 104 Cleopatra (1963) 117–18 relationship of tragedy with 89–91 Clinton, Bill 107 union in, treatments of 237–8 clowns, appearance in ‘tragedies’ 10, 13, 88 Dekker, Thomas 133 see also Fool The Noble Spanish Soldier 86, 88 Clyomon and Clamydes 9–11, 12, 13, 14, (with John Ford and Thomas Rowley), 98 The Witch of Edmonton 98, 111 Coddon, Karin 201, 205 Delamere, Robert 111 Coghill, Nevill 106, 117–18 Derrida, Jacques 74 Coke, Edward 34 Dexter, John 107 Cole, Jeremy 112 Diana, Princess of Wales 126, 128–9

263

index

disguise 80, 82–3, 202–3 The Duchess of Malfi (Webster) 6, 11, 24, see also cross-dressing 58, 59, 66, 102, 212, 236–46 Doctor Faustus (1967) 106, 117–18, 120 bedchamber scene 239–43 Doctor Faustus (Marlowe) 12, 134, 163–73, blurring of distinction between play and 178, 180 reality 236–7 characterisation: Faustus 83, 165–6; characterisation: Bosola 78, 95, 243–4; Mephistopheles 168; minor characters Duchess 138–41, 241–5 167 comic/parodic elements 67, 69 choice of performance text 164 contrasted with Shakespearean tragedy comic subplot 167 140, 141, 142 differences between versions 163–4, critical commentary 237 171–3 death lines 243–5 disturbing effect on audience 163, 164–5, departures from generic convention 166–7, 168–9 236–7, 246 final speech of protagonist 170–1 metatheatricality 68, 141 Good/Bad Angels, use of 169–70, 179 modern productions/adaptations 104–5, ‘Helen’ speech 168–9 110, 127–30 homoerotic implications 169, 171 narrative structure 236, 239 modern productions/adaptations 106–7, original production, casting 248 112, 125–6 referencing in other works 250, 252 performance history (1700–1900) 102, reversal of gendered stereotypes 241–3 103 sexual imagery 238, 239–43, 247 props, use of 172–3 treatment of (ageing) female body 242, range of dramatic techniques 163, 168 243–4 representation of divine authority 171–2 treatment of (death as) consummation salvation, possibility of 170, 172 237–8 sexual/sensual imagery 166, 169, 171 treatment of domestic space 25, 26–8 staging requirements 171–2 treatment of doubles 236–7 style 165–6, 168–71 treatment of masculinity 245–6 textual history 163–4 treatment of pregnancy/childbirth 237, versification 168–9, 171 238–9, 242–3, 244, 247 Dodsley, Robert 103 treatment of subjectivity 83 Dollimore, Jonathan 48, 145, 166, 201, treatment of time 237–8 205–6 dumb show, use of see Gorboduc domestic tragedy 12, 18, 21–4, 89, 137–8 Dunlop, Frank 110, 111 appearance of preternatural phenomena Dury, Ian 126, 233 188, 197 characterisation 22–3 Edmund Ironside (anon.) 39 importance of household environment attribution to Shakespeare/productions 23–4 111 modern productions 107 Edward II (1991) 107, 121, 123–5, 179 style 97 Edward II (Marlowe) 12, 174–84, 212 Donne, John 202 adaptation of source material 179–80 ‘Love’s Alchemy’ 247 characterisation: Edward 180, 182; ‘The Canonization’ 238, 246 Gaveston 180–1 Donnellan, Declan 110 compared with Doctor Faustus 178, 179 Doran, Greg 112, 114 critical commentary 174, 178–9, 182 Drake, Francis 34 dating 185–6 drama, (alleged) therapeutic value 61–3 diction 184 see also catharsis historic significance 174, 178–9 dream(s), stage action presented as 156–7 influence of morality plays 179–80 Dryden, John 12 modern productions 105, 107 d’Silva, Darrell 110 narrative structure 180, 186

264

index

referencing of Marlowe’s other works Finney, Albert 105 180–1, 184 Fletcher, John 230 and the sublime 174–6, 181–4 collaborations with Shakespeare 133 treatment of authorship 180–1 see also ‘Beaumont and Fletcher’ treatment of Christianity 182 Foakes, R. A. 55 Edward IV 5 Folger Shakespeare Library 103 Edward VI 31 Fool, character of 98 Eighty Years War see War of Dutch see also clowns Independence Ford, John 14, 107 Eliot, T. S. 104, 201, 224, 232 The Broken Heart 90, 112, 114, 250 ‘Whispers of Immortality’ 104 Love’s Sacriﬁce 250 Elizabeth I 7, 31, 34, 159, 228 Perkin Warbeck 212 excommunication 37 see also Dekker, Thomas; ’Tis Pity She’s a Elizabeth II 129 Whore Elizabethan era foreign settings, role of 64–5 political system/debates 34–5, 36 form social/political changes 59–60 Shakespearean 134–8 Ellis, Havelock 104 value of concept 86, 98 Ellis-Fermor, Una 229 Foucault, Michel 74, 184 endings, conventions of 89–91 Furies, role in classical drama 86 see also happy endings England Gambon, Michael 121 ancient/mythic history, as source material Garber, Marjorie 224, 232 30–6, 39–41 Garnier, Robert, Cornelie´ 71 political debates 34, 35–6 Garrick, David 102–3 political history 39–40 Gaskill, Malcolm 189 relationship of nation with tragedy 30–1, Gaultier, Jean-Paul 121, 124 36, 38–9, 41 Genet, Jean 121 religious culture 44 Geoffrey of Monmouth, History of the Kings social/political structures 18–21 of Britain 30–2, 39 English Civil War (1641–51) 177 Gerard of Brolio 239 Erasmus, Desiderius 6 Gerard,´ Balthasar 38 Essex, Robert Devereux, 2nd Earl of 39 Germany, performances in 103 Euripides Gibbons, Brian 12–13, 248 Clytemnestra 65 Gibson, Jonathan 5–6 Hecuba 9–10 Gielgud, John 110 Medea 60, 65 Gill, Roma 50 Europe (continental), literary/cultural trends Gismond of Salerne 8 63–4 Globe Theatre, modern reconstruction 104 eyes, supposed powers of 193–4, 195–6 God Eyre, Richard 108, 226 literal depictions on stage 51, 54; see also Christ Falkland, Lady see Cary, Elizabeth; The prohibition on use of name 171 Tragedy of Mariam Goehr, Alexander, Arden Must Die 108 Falsi, Antonio 119 Goethe, Johann Wolfgang von, Faust 106, family life see household 125–6 fathers/fatherhood Goodbody, Buzz 108 social dominance 215 Gorboduc (Norton/Sackville) 7–8, 11, 30, (uncertain) nature of authority 213, 215 31–6, 40, 41, 135, 142–3 Faust (1995) 125–6 contemporary political relevance 33–6 Ferguson, Margaret 212–13 criticisms 9 Ferrex and Porrex see Gorboduc dumb shows 8, 34–5, 36 Figgis, Mike 126, 127–8, 129–30 importance in literary history 36

265

index

Gorboduc (Norton/Sackville) (cont.) Harris, George 108 influence on later works 36, 39 Harrison, Brian 109 neo-classical elements 7–8 Hattaway, Michael 55, 135 production history 36 Hatton, Sir Christopher 34 relationship with source material 32 Hawkins, Harriet 153–4 Gossett, Suzanne 227–8 Hayek, Salma 127 Gosson, Stephen 61, 87–8, 97, 197 Hays Code 113 Gough, Thomas, The Careless Shepherdess Heminges, William, The Fatal Contract 98 98 Henry V (1989) 123 Gounod, Charles-François, Faust 125 Henry VII 5, 31 Grabbe, Christian Dietrich, DonJuanand Henry VIII 6, 31 Faust 125 Henslowe, Philip 163–4 Greek theatre, as model for revenge tragedy Herodotus 65 60, 63–4, 65, 69, 86, 230 heroic romance, genre of 9–11, 12–13 Greenaway, Peter 116, 121–3, 129–30 Herrick, Marvin T. 11 influence on other film-makers 124, 125, Heywood, Jasper 7 126, 127, 128 Heywood, Thomas 61, 133, 143 Greenblatt, Stephen 111, 114, 184, 197, 240 see also A Woman Killed with Kindness Greene, Robert 45 Hildegard of Bingen 239 see also Lodge, Thomas Hille, Anastasia 110 Griffi, Giuseppe Patroni 118–21, 123 Hinds, Ciaran 105 Grotowski, Jerzy 106 Hobbes, Thomas 177, 215–16, 219 Gunby, David 50–1 Hodgson-Wright, Stephanie 113 Gunpowder Plot (1605) 39 Holinshed, Raphael, Chronicles 179, 183, 185–6, 191–2 Hack, Keith 105 Holmes, Sean 112 Hakewill, George, The Vanitie of the Eye Homer 10 194, 195 ‘Homily against Disobedience and Wilful Hall, Peter 105 Rebellion’ (1569) 37 Halpern, Richard 167 Hopkins, Anthony 107 Hamilton, Charles 111 Horace (Q. Horatius Flaccus) 58 Hamlet (1996) 128 horse(s), imagery involving 245–6 Hamlet (Shakespeare) 133, 212, 252 Hotel (2001) 126, 127–8 cinematic referencing 122, 128 household comic elements 67–8 claustrophobia of setting 25 comparisons with The Revenger’s Tragedy crimes committed against 77, 82 66–7, 109, 200–1, 205, 206 familiarity with spaces in 24 influence of The Spanish Tragedy 134–5 idealised roles within 19–20 metatheatricality 68, 135, 159–61 as microcosm of state 18–19, 137–8, performance history 102, 103, 109 216 referencing by contemporary playwrights obligations to, conflict with duty to 136, 147, 228 sovereign 76–7, 78, 82, 136–7 as revenge tragedy 50, 58, 59, 61, 65, 66, position of women in 214–16 136–7 relationship with community 20–4, 26 treatment of court as household 18, 25, revenge on entirety of 77, 79–80 26 role in English society/politics 18–21, 28 treatment of subjectivity 74–5, 78–9, 80 as setting for tragedy 17–18, 21–8 use of soliloquy 139, 141 suitability for criminal activity 23–4 Hammill, Graham 169 visibility of activities 20–2, 23 Hands, Terry 107, 108 see also domestic tragedy; marriage happy endings 11 Hunt, Maurice 13 Harbage, Alfred 12 Hunter, George K. 3, 86 Harris, Barbara 214 husband/wife, idealised roles 19–20

266

index

iambic pentameter see blank verse King’s Men 96 incest see perverted desires Knights, L. C. 142 indeterminacy, textual, as feature of Kristeva, Julia 117 Renaissance tragedy 158–61 Kyd, Thomas 14, 181 Inner Temple 7, 34 as scholar/translator 71 intercession, pleas for 53 The Tragedy of Soliman and Perseda 66, intertextuality 250 71, 89, 92, 98, 99, 154 Ionesco, Eugene 121 see also The Spanish Tragedy Islam, dramatic treatments/attacks 46–7 Kyle, Barry 106, 111 isolation within household space 25–6, 27 Lake, David J. 230 Lamb, Charles 178 Jackson, Macdonald P. 48, 230 Leech, Clifford 48 Jacobi, Derek 128 legitimacy, political, dramatic explorations James VI/I 39–40, 41, 181 211–12 James II 54 Leicester, Robert Dudley, Earl of 34 Jarman, Derek 107, 116, 121, 123–5, Leigh, Vivien 144 129–30, 179 Lemnius, Levinus 189–90 influence on other film-makers 126, Lillo, George 108 127–8 Littlewood, Joan 104 Javitch, Daniel 63 Lobb, Emmanuel see Simons, Joseph Jesuits 52, 56 Locrine (anon.) 39 Joffe,´ Roland 105 Lodge, Thomas 61 Jones, Richard 12, 13 (and Robert Greene), A Looking-Glass for Jonson, Ben 63, 133, 246 London and England 38 modern productions/reputation 102, 108 ‘Longinus’, On the Sublime 175–6, 177, The Alchemist 135 178, 179, 180–1, 184 Bartholomew Fair 70 publication history 176 Catiline His Conspiracy 39 Lucan (M. Annaeus Lucanus) 177–8, 181, Eastward Hoe see Chapman 184 Sejanus, His Fall 39, 103, 112, 133 Pharsalia 177 additional material for The Spanish Luckyj, Christina 246 Tragedy 136 Luhrmann, Baz 126 Josephus, Flavius, Antiquities 211 Lydgate, John, The Fall of Princes (after Julius Caesar (1953) 117 Boccaccio) 5 Lyotard, Jean-François 175 Kant, Immanuel 175 katharsis see catharsis Macbeth (Shakespeare/?Middleton) 19, 24, Kean, Edmund 103 61, 68, 139, 212 Kelly, Henry Ansgar 5, 57 authorship 108, 133 Kemble, John Philip 102–3 as domestic tragedy 18, 138 Kerrigan, John 230 Machin, Lewis see Barksted, William King Lear (Shakespeare) 39–41, 98, 102, Madden, John 134 133–4, 212, 250 Maddermarket Theatre, Norwich 103 compared with Titus Andronicus 144 Maeterlinck, Maurice, Annabella 113 contemporary political relevance 39–40, malcontent, character of 81–2, 228 41 Mankiewicz, Joseph L. 117 modern productions/adaptations 125, 129 Mariam the Fair Queen of Jewry see The treatment of household 18, 24 Tragedy of Mariam use of soliloquy 139, 140 Marlowe, Christopher King Leir (The Moste Famous Chronicle atheism 45, 47, 55, 182 Historye of Leire King of England and biographical details/sexuality 106–7 his Three Daughters, anon.) 39 characteristics as playwright 54, 55

267

index

Marlowe, Christopher (cont.) McMillin, Scott 201 contemporary reputation 133, 134 medieval drama 51, 57 critical commentary 132, 178 Mee, Charles 111, 114 ‘mighty line’ 168 Mehl, Dieter 8 modern image/reputation 105, 108, 123 Mendelssohn, Felix 103 modern productions/adaptations 105–7, menstruation, supposed preternatural 123–6 properties 194, 196 as translator 177–8 Merchant–Ivory films 127 Dido Queen of Carthage (with Thomas Mercia (Simons) 44–5, 51–4 Nashe) 111, 184 propagandist function 52, 53–4 Hero and Leander 176, 180 Meres, Francis 132–3, 147 The Jew of Malta 104, 105–6, 118, 180, metatheatre 68–9, 153–61, 201, 203, 206 205–6 TheMassacreatParis 38, 89 defined 159–60 ‘The Passionate Shepherd to His Love’ range of meanings 154–5 180 Middleton, Thomas 48, 95, 110 see also Doctor Faustus; Edward II; as collaborator with Shakespeare 108, Tamburlaine the Great 133 Marnich, Melanie, Tallgrass Gothic 109 modern productions/reputation 108–9, marriage 146 dramatic treatments 212–13, 257–9 share of The Changeling 229, 230 of rapist and victim 227–8 A Game at Chess 247 social conditions 214 Hengist, King of Kent 39 Marston, John The Second Maiden’s Tragedy 66, 108, influence 95 111, 112 modern productions 111 Women Beware Women 108 Antonio and Mellida 91, 95, 111 A Yorkshire Tragedy 22–4, 95, 108, Antonio’s Revenge 91, 95, 111, 200 137 Eastward Hoe see Chapman see also The Revenger’s Tragedy; The The Insatiate Countess see Barksted, Changeling William Middleton’s Changeling (1998) 126–7, 128, The Malcontent 69–70, 81–3, 85, 111 226, 229, 233 Martindale, Charles 177 Miller, Jonathan 111, 114 martyrs, dramatic depictions 51, 52, Mirren, Helen 121, 124, 226, 233 53 Mitchell, Katie 107 Marx, Karl 74 mixing of genres 69–70, 89 Mary, Queen of Scots 34, 37 criticisms of 10–11, 88 Mary I of England 31 see also clowns; revenge tragedy, comic Massinger, Philip 103, 104, 230 elements modern productions 112 monarchy, critiques of 35–6 Believe as You List 90–1, 92, 99, 112 see also assassination The Bondman 102 Mooney, Michael 230 The Duke of Milan 66, 98 Moore, Jonathan 109, 112, 145–6 ANewWaytoPayOldDebts 103 Morris, Brian 50 The Roman Actor 112 mothers/motherhood 213–14, 215–16 materialism 74–5 absence from stage plots 216, 219 Maus, Katharine 74, 148 denial of authority 213–14 McAlindon, Tom 132 depiction in Mariam 216–19 McArdle, Aidan 110 lack of theoretical discussion 216 McDonald, Russ 100 source/nature of authority 213, 215 McEwan, Geraldine 110 Mumby, Jonathan 110–11 McHugh, Ian 112 Murphy, Gerard 107 McKellen, Ian 106, 111 My Kingdom (2001) 129

268

index

Nagra, Parminder 233 Paster,GailKern 240 narrative structures 89–92 Pateman, Carole 213, 214–15 mingling of comic and tragic 91–2 Peele, George Nashe, Thomas see Marlowe, Christopher, collaboration on Titus Andronicus 13, Dido Queen of Carthage 133 National Theatre 104, 108, 109 David and Bethsabe 103 natural philosophy 188, 189 Pepys, Samuel 102 Neill, Michael 90, 224, 232 perverted desires/relationships, prominence neo-classicism 6–11 in tragedy 17–18, 27–8, 251, 255–8 New Criticism 224 Philip II of Spain 37, 38 Nichols, Mike 118 Phrynichus, The Fall of Miletus 65 Nietzsche, Friedrich 174, 183 Pius V, Pope 37 non-Christians, treatment of 44 Plautus, T. Maccius 137 see also Islam plays within plays see metatheatricality Northern Rebellion (1569) 37 Plowright, Joan 107 Norton, Thomas see Gorboduc Poel, William 103, 107 nostalgia, role in revenge tragedy 134–5 Pollard, Tanya 201 Nunn, Hilary M. 189 Pollard, Thomas 96 Poole, Kristen 164 Old Testament, referencing of 47 Pope, Alexander 142 Old Vic Theatre 104 Porter, Eric 106 Oliver, Cordelia 113 postmodernism 224 Oliver, Stephen 114 pregnancy Olivier, Laurence 144 dramatic treatments 238–9, 257–8 O’Maonlai, Colm 233 social conventions 238–9 O’Pray, Michael 124 see also The Duchess of Malﬁ ‘Ordeal of the Bier’ 189 Preston, Thomas, Cambyses 8 orgasm, popular beliefs concerning 239, preternatural phenomena 240 in domestic tragedy 188 Original Sin, as driver of character 201 place in Renaissance life/thought 188–9 Orlin, Lena Cowen 137–8, 193 reports of, in real-life Arden case 190–2 Othello (Shakespeare) 92, 250 theatre as inhabiting realm of 197 comic elements 91 Price, Claire 110 compared with ’Tis Pity She’s a Whore primogeniture, doctrine of 214 258–9 printing press, invention of 159 as domestic tragedy 137 privacy as revenge tragedy 135 invasion by outsiders 26–7 treatment of subjectivity 73, 81 relationship with household space 20–1, use of soliloquy 139, 140, 141 23, 24–5 OutRage 124 Privy Council 34, 39 Ovid (P. Ovidius Naso) 143, 171, 177, 178, Problemes of Aristotle (anon.) 190, 193 181, 184 propaganda, use of theatre as 51–4 props, use of 148, 172–3 paganism Prospero’s Books (1991) 123 compatibility with world of tragedy 40, providentialism 44–5 dramatic treatments 48, 49 in conﬂict with Christianity 51 and preternatural phenomena 189, Page, Anthony 108, 233 191–2 Painter, William, The Palace of Pleasure 6, rejection of 205–6 105 Prowse, Philip 104, 105 Parker, John 54, 168 pseudo-Longinus see ‘Longinus’ Parnassus plays (anon.) 183 Puckering, John, Horestes 13 Pasolini, Pier Paolo 121 Puttenham, George 142

269

index

Queen’s Men 93 authorship 48, 55, 104, 108, 208 queer theory 119–21, 123–5, 128 characterisation 66–7: protagonist 95, Quick, Diana 108 200–8; minor characters 206 ‘quiet’, as womanly duty 19–20 comic/parodic elements 68, 69, 81 comparisons with Shakespearean tragedy Rabkin, Norman 13, 246 see Hamlet; Titus Andronicus Rampling, Charlotte 119 critical commentary 145–6, 201, 205–6, rape 208 followed by marriage 227–8 manipulation of generic traditions 200, symbolic referencing 241, 244 202–3, 207 Ray-King, Amanda 233 metatheatricality 68, 69, 201, 203, 205–6, Reformation, impact on theatre 44, 159 207 Reiss, Timothy J. 8 misogynistic elements 203–4, 205 religion 44–54 modern productions/adaptations 108–9, relationship between theatre and 112, 116–17, 128–30, 145–6 contemporary beliefs 54 revenger’s motivations 201, 204, 207, see also providentialism 208 reputation, domestic, social importance 20 ‘skull’ scene 204–5 Restoration era 102 style 201–2 revenge treatment of death 89 as dominant theme of tragedy 58 treatment of disguise 80, 85, 201, excessive nature, in revenge tragedy 59, 202–3 77, 205 treatment of identity 206–7 moral objections to 50–1, 56, 85, 155–6, treatment of subjectivity 79–81 157–8 Reynolds, John, The Triumphs of God’s post-Renaissance depictions (stage/screen) Revenge 227 59, 71 Ribner, Irving 227, 232 therapeutic value 61, 69 Riccoboni, Antonio 229 revenge tragedy 11–13, 18, 26 Richard II 5 anti-Catholic content 44 Richardson, Tony 108 classical heritage 58, 60, 65, 69, 70, 86 Ricks, Christopher 224, 232 comic elements 58, 66–8, 81 Ritter, Sonia 144 emotional appeal 61–3 Roach, Joseph 197 European connections 63–4 Romeo and Juliet (1968) 120 evolution/modifications 69–70, 81, 86, Romeo and Juliet (1996) 126 136–7, 222 Romeo and Juliet (Shakespeare) 6, 237 generic features 59–69, 134–5, 200 characterisation: confidantes 253–5; influence on later theatre/cinema 121–3 lovers 255–6, 257–8 influence on other contemporary genres comic elements 91 83 comparisions with ’Tis Pity She’s a Whore locations 64–5 250–9 metatheatricality 68–9 conflict of love with social order 253 political resonances 59–60 retrospective impact of ’Tis Pity She’s a reasons for popularity 59, 70, 112–13 Whore 252–3 satirical presentations 70 Rourke, Josie 112 standard plot devices 59, 63–4 Rowley, Samuel 163–4 revenger, character of 28, 74 Rowley, William 111–12 audience identification with 59 share of The Changeling 229, 230 as outsider 65 All’s Lost by Lust 102 Revengers Tragedy (2002) 109, 116–17, see also The Changeling; Dekker, Thomas 128–30 Rowse,A.L. 123 The Revenger’s Tragedy (Middleton) 11, 58, Royal Shakespeare Company 106, 107, 108, 59, 65, 66, 82, 110, 136, 200–8, 212 109, 112

270

index

Rylands, George 110 Antony and Cleopatra 140, 142, 237, Rymer, Thomas 135 250 As You Like It 10, 135 Sacks, Peter 156, 158 Coriolanus 33, 36, 133, 141–2 Sackville, Thomas see Gorboduc Henry VI (parts I–III) 212 Sade, Marquis de 121 Julius Caesar 36–8 saints, role in Catholic theology 53 Measure for Measure 83, 108 Sams, Eric 111 The Merchant of Venice 105 San Diego, CA, Festival Theatre 103 A Midsummer Night’s Dream 89–90, Sanders, George 89 103, 135, 156–7 satirical commentator, character of 28 Pericles, Prince of Tyre 133 Schafer, Elizabeth 113 Richard II 40, 105, 141–2, 143, 212 Schiller, Johann Christoph Friedrich von Richard III 133, 189, 246, 248 175 Sonnets 123 Scot, Reginald 194 The Taming of the Shrew 61–2, 156 Scott, Jools, Vice 109 The Tempest 123, 156 secrecy, treatments in household tragedy 27 Timon of Athens 108, 133 Section 28 123 Troilus and Cressida 4–5, 250 secularisation (of theatre) 44, 51 Two Noble Kinsmen (with John Fletcher) Seide, Stuart 113 133 Seneca, L. Annaeus 183 The Winter’s Tale 13–14, 216 influence on English tragedy 5, 7–8, 36, see also Hamlet; King Lear; Macbeth; 52, 58, 60, 63–4, 66, 121, 142–3, 200, Othello; Romeo and Juliet; Titus 212 Andronicus rejection of 159, 160 Shakespeare in Love (1998) 134 translations into English 7, 58 Shakespeare Memorial Theatre, Hercules Oetaeus 7 Stratford-upon-Avon 104 Thyestes 66 studio spaces 107 Troas 7 Shapiro, James 133 see also neo-classicism Shapiro, Michael 100 servants Shaw, Philip 174 relationships with master/mistress 27–8 Shelton, Brian 109 role in revenge tragedy 65 Sher, Antony 107 Shakespeare, William Shirley, James as domestic tragedian 137–8 The Cardinal 96, 100 collaborations 133 The Maid’s Revenge 98 comic idiom 240 Sidney, Philip 9–11, 12–13, 63, 88, 91, contemporary reputation 132–3 96–7, 142–3, 246 cultural supremacy 102, 103, 116–17, Simkin, Stevie 106 121, 126–7, 132, 133–4, 153–4, 160, Simons, Joseph (Emmanuel Lobb) 52, 54, 228, 229; critiqued 127–30, 141, 142 56 diversity of tragic output 133–4, 146–7 see also Mercia lost/anonymous works attributed to 111, Sinfield, Alan 148 137 Sir Thomas More (anon., poss. partly modern image 105, 123 Shakespeare) 111 place in contemporary theatre 133–4, Skelton, John, Magnificence 36 138, 146–7 social injustice, role in revenge tragedy referencing by contemporaries 250, 259 76–7, 200 tragic diction 142–6 see also corruption treatments of political legitimacy 212, social status (of protagonists) 24 219 lowering (1580s/1590s) 89 use of audience as confidante 139, 140 superior, importance of 88, 96–7 All Is True (with John Fletcher) 133 soliloquy, use of 139–40, 141–2

271

index

Sophocles 176 relationship with tragedy 175–7, 183–4 Oedipus trilogy 102, 230 see also Edward II The Spanish Tragedy (Kyd) 3, 5, 11–12, 21, suicide, treatments of 49 26, 61, 69, 136, 153–61, 211 supernatural phenomena see preternatural added passages (by Jonson) 136 phenomena comic elements 67 Svankmajer,ˇ Jan 106, 125–6 critical commentary 132, 155–6 Swinburne, Algernon Charles 178, 229 dating 161 Swinton, Tilda 124–5 death of Andrea, ambiguity of 157 Symonds, John Addington 104 dramatic style 159 as dream 156–7 Tamburlaine the Great, Parts 1 and 2 influence 58, 64, 67, 74, 83, 93, 153–4, (Marlowe) 3, 5, 11, 55, 118, 176–7 158–9, 160–1, 200; on Shakespeare generic identity 12–13 133, 134–5 imitations 13 judgment, focus on processes of 154–6, influence 93 157–8 modern productions 105, 107 metatheatricality 68, 69, 153–61; play religious content 44–7; burning of Koran within the play 154, 158 46–7; christological allusions 45–6; modern productions 112 evocations of ‘Jove’ 46; theological morality of revenge plots 155–6, 157–8 framework 47 opening scene (in Hades) 155–6 The Taming of the Shrew (1967) 118 parodied 70 Tarlton, Richard 88 political content/implications 59, 64–5 Tasso, Torquato, Il padre di famiglia 71 printings 70 Taylor, Elizabeth 106, 117–18 relationship with audience 155–8, 159 Taylor, Gary 111, 114, 146 relationship with Christian morality 155, The Tempest (1979) 123, 126 156, 157–8 Tertullian 53 role in development of genre 13 Testi, Fabio 119 textual indeterminacy 158–61 Teuber, Andreas 118 treatment of subjectivity 74, 75–8, 79–80 Thatcher, Margaret/Thatcherism, cinematic use of props 148 critiques 121, 122, 123, 125 violence 66 Theatre of Cruelty 104–5 Speroni, Sperone 63 ‘theatre of the world’ topos 154 Spurrier, Jill 105 Theatre Workshop, Stratford East 104 St Johnston, Joshua 233 theory (literary) 3, 6–7, 8–11 Stachniewski, John 224, 226–7, 231, see also neo-classicism 232 Thompson, Marcus 126–7, 128, 129–30, Stallybrass, Peter 201, 205 226, 229 Still, Melly 109, 145–6 Thorndike, Ashley 229 Stoicism 51, 56 Threlfall, David 114 Stoppard, Tom, Rosencrantz and Tieck, Ludwig 103 Guildenstern Are Dead 147 Timon (anon.) 92–3, 97 Stow, John 191 ’Tis Pity She’s a Whore (1971) 118–21, 123 Stratford-upon-Avon see Shakespeare ’Tis Pity She’s a Whore (Ford) 11, 17–18, Memorial Theatre 22, 27, 66, 249–59 subjectivity 73–83 characterisation: confidantes 253–5; fragmentation 81, 82 lovers 255–6, 257–8 tragic, specific characteristics 73–5, 76, compared with Othello 258–9 77–8, 82 compared with Romeo and Juliet 250–9 sublime, the 174 conflict of love with social order 253 definitions 174, 176, 183; literary 175; impact on readings of Romeo and Juliet philosophical 175 252–3 ‘reinvention’ by Marlowe 176–8, 179 influence 121

272

index

modern productions/adaptations 104–5, treatment of motherhood 213, 214, 113, 118–21 216–19; in mother–daughter perversion of traditional love stories relationship 217–19 251–2 ‘tragical tale’, genre of 5–6 (redundant) subplots 256 Trent, Council of 56 referencing of earlier texts 250–9 Trissino, Gian Giorgio 63 significance of title 249–50, 259 Tromeo and Juliet (1996) 127 treatment of incest 251, 255–8 The True Tragedy of Richard III (anon.) treatment of time 256–8 93–5 Titus Andronicus (Shakespeare/?Peele) 13, Tutin, Dorothy 108 66, 67–8, 70, 116, 133, 141, 143–5 compared with The Revenger’s Tragedy Udall, Nicholas 6 143, 145, 146, 200 Respublica 36 critical commentary 143–4, 149 ugliness modern productions 144–5 cleansing 231 Tobias, Oliver 119 comic associations 228–9 Tompkinson, Stephen 109 representation via casting/make-up 226 Tourneur, Cyril 48, 95, 104, 108, 208 theory of 224–5; application to The see also The Atheist’s Tragedy Changeling 225–6 tragedy see also The Changeling criticisms 87–8 unities (of time/place/action) 9–10 definitions 4, 9, 74, 75, 84, 87, 200 rejection/mockery 237 educational effect 91 unity (political), pleas for 33, 45–6 generic conventions 11–13, 87–98, 102 historical development 3–11, 13–14, versification 93–5, 100 54 violence, role in revenge tragedy 58, 66–7, mixture of neo-classical and popular 102 elements 8, 10, 39 in Titus Andronicus 143–4 overlap with history plays 89 Virgil (P. Vergilius Maro) 10 performances 102–13 Aeneid 156 personification as character 88–9 Visconti, Luchino 105 as (principally) narrative poetry 3–6 as (principally) stage work 5, 6–8 Waith, Eugene M. 12, 13 revival (1960s) 104–5 Walker, Greg 36 stereotypical views of 80, 86, 88–9, War of Dutch Independence 37 126–7 Warner, Deborah 144–5 style 92–6, 142–3 A Warning for Fair Women (anon.) 88–9, sub-genres 12, 18, 87 92, 138 see also domestic tragedy; heroic The Wars of Cyrus (anon.) 98 romance; mixing of genres; revenge Waters, Les 114 tragedy; ‘tragical tale’ Watson, Robert 75 The Tragedy of Mariam (Elizabeth Cary, Watson, Thomas, Absolom 6, 7 Lady Falkland) 12, 20, 83, 211–19 Webster, John 95, 104, 134 autobiographical significance 212 modern productions/reputation 110–11 characterisation 216–19 Appius and Virginia 95 denial of political legitimacy 211, 212, The Devil’s Law Case 111, 114 217 The Displaying of Supposed Witchcraft modern editions/performances 108 192 other contemporary treatments of story see also The Duchess of Malfi; The White 212–13 Devil relationship with audience 211, 216–17, Welles, Orson 106 220 West, William 159 treatment of marriage 212–13 Whigham, Frank 195

273

index

The White Devil (Webster) 105, 129, 247 equality, theoretical disussions of 215 modern productions 110–11 household duties 19–20 preface 133, 147 modern reinterpretations of role 107–8 referencing in other works 244 performance of roles by boy actors 103 Who’s Afraid of Virginia Woolf? (1966) 118 property rights 214 Wiggin, Pauline 230 reimagining of traditional image 241–3 Wilkins, George 133 roles in revenge tragedy 65 William I of Orange (William the Silent) 37, separation of private and public spheres 38 214–15 Williams, Clifford 106 subordinate position, dramatic depictions Williams, Heathcote 127–8 213 Williamson, Nicol 108 supposed preternatural powers 194 Wilson, Adrian 239, 242 see also cross-dressing; marriage; Winstone, Ray 233 motherhood A Woman Killed with Kindness Woodward, Edward 110 (T. Heywood) 21, 22, 24, 137 Wymer, Rowland 119 modern productions 107 style 97 Yarington, Robert, Two Lamentable women Tragedies 21 anti-ideal characterisation 22, 28, 195–6 attacks on nature of 203–4, 205 Zefﬁrelli, Franco 118, 119–20 (contradictions of) social position 214–16 Ziˇ zek,ˇ Slavoj 175, 184, 227, 233

274