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Arbie's Unoriginally Titled Book Blog

It's a blog! Mainly of book reviews.

Currently reading

Beyond compare: Art from Africa in the Bode Museum
Paola Ivanov, Julien Chapuis, Jonathan Fine
Progress: 209/216 pages
Top 10 Berin 2018
J├╝rgen Scheunemann
Progress: 157/192 pages
Summer Morning, Summer Night
Ray Bradbury
Progress: 84/176 pages
Ack-Ack Macaque
Gareth L. Powell
Progress: 683/792 pages
Introduction to Topology
Bert Mendelson
Progress: 10/224 pages
Four Revenge Tragedies: The Spanish Tragedy, The Revenger's Tragedy, The Revenge of Bussy D'Ambois, and The Atheist's Tragedy
Cyril Tourneur, Thomas Kyd, Thomas Middleton, George Chapman, Katharine Eisaman Maus
Progress: 176/464 pages
Michael Kidner
Francis Pratt, Michael Kidner, Irving Sandler
Progress: 10/128 pages
Basics of Plasma Astrophysics
Claudio Chiuderi, Marco Velli
Progress: 58/250 pages
A Student's Guide to Lagrangians and Hamiltonians
Patrick Hamill
Progress: 7/180 pages
Complete Poems, 1904-1962
E.E. Cummings
Progress: 488/1102 pages

Reading progress update: I've read 176 out of 464 pages.

Four Revenge Tragedies: The Spanish Tragedy, The Revenger's Tragedy, The Revenge of Bussy D'Ambois, and The Atheist's Tragedy - Cyril Tourneur, Thomas Kyd, Thomas Middleton, George Chapman, Katharine Eisaman Maus

The Revenger's Tragedy

 

Who wrote this? Nobody knows for sure. Thomas Middleton seems to be supplanting Cyril Turneur as the scholarly consensus for most likely author - but you won't learning anything about that debate from this volume, unfortunately.

 

This was the first non-Shakespearean play of the era that I ever saw performed - it seemed to gain considerable traction in performance in the 1990s , because I saw another performance of it later in the decade. The first was the work of the drama dept. at my undergrad Uni. The second was a touring professional production at the Theatre Royal, Bath. The former was better than the latter, which used the conceit of Prohibition gangsters for its costuming. All the men were dressed in virtually identical suits and hats and it was next to impossible to follow the plot because the characters were not sufficiently visually differentiated.

 

Reading the play makes this easier, the opposite of what I find with Shakespeare's plays. It seems like Shakespeare had more skill at working people's names and relations with each other into speech, a huge advantage when the cast of characters is bigger even than the number of players in the troupe, as was usually the case back then. Just one more reason why the Bard was better than the rest.

 

Anyway, whilst clearly a Revenge Tragedy (see title!), displaying most of the tropes and moral implications of the genre, two are conspicuous by their absence: a ghost and a play-within-a-play. The absence of the former can be understood from the plot. The inciting crime is a rape rather than a murder, so there is no unquiet dead spirit to demand vengence from the living. As for the lack of a play-within-a-play, well, there's doubt who the perpetrator is and so no need for subterfuge to reveal the guilty party.

 

The editor suggests that this play satirises the genre. I'm not really seeing it except in-so-far as the all the major characters are archetypes rather than individuals (even to the extent of having names that, translated from Latin, tell you exactly what they typify). The moral subtext seems to be the same as other plays of the same ilk: Earthly justice has gone astray and the Revenger must go outside the law to get...revenge. In doing so (and eventually succeeding), the Revenger invariably, directly or indirectly, causes a final act bloodbath that destroys the corrupt ruling regime, allowing a just ruler to take over. Unfortunately the Revenger also pays the price of taking the law into his own hands and is also killed. Hence his Tragedy brings everything back into moral balance.