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Bibliography


Bibliography
BOOKS
AUTHOR: U.M. Ellis-Fermor
TITLE: The Jacobean Drama: An Interpretation
Place, Publisher, Year: 1936
INTERNET SITES
SITE AUTHOR: Terry Flaxton
DATE ACCESSED: 25 August, 2011 
SITE AUTHOR: Thomas Larque
DATE ACCESSED: 25 August, 2011
SITE AUTHOR:Wikipedia
DATE ACCESSED: 27 August, 2011
SITE AUTHOR: Karen Kay
DATE ACCESSED: 31 August, 2011
URL:http://lizziehayes.tripod.com
SITE AUTHOR: Lizzie Hayes 
DATE ACCESSED: 31 August, 2011
SITE AUTHOR: NeoEnglish Systems
DATE ACCESSED: 3 September, 2011
SITE AUTHOR: Wayne Turney
DATE ACCESSED: 3 September
SITE AUTHOR: Hannah Light
DATE ACCESSED: 5 September, 2011
OTHER
A Thesis Submitted for the Degree of PhD at the University of Warwick
AUTHOR: Juliet Dusinberre
TITLE: Attitudes to Women in Jacobean Drama
YEAR SUBMITTED: 1969

Jacobean Society in Jacobean Theatre


Theatre reflects its own contextual society, no matter how fantastic or theatrical things can become, themes can always be traced to some sort of relevance in the current times. This is true especially during the Elizabethan periods where about 3 out of 25 Londoners would visit the theatre each week (a single performance at public amphitheaters such as The Globe could attract 3000 spectators out of the 200,000 in London). Though audience numbers eventually dropped during the Jacobean period, numbers were still large enough for authorities to become alarmed at the influence large numbers of citizens are exposed to. Such was the power of a play.
Jacobean drama suffered after the theatrical golden age of Elizabethan theatre. When King James I took over the throne, the theatre lost its reach with the common folk and came to be patronized by the more courtly classes who were known for their lack of discipline and moral value. Naturally, Jacobean theatre became decadent as London’s morbid interest in sexual immorality increased. This era became notorious for its moral laxity. Countless plays were written about immoral love, illicit affairs, even if to condemn it. Prostitutes became the new heroines of the stage, appearing in the popular Dekker and Marston’s plays.
Sexism and misogyny were common in the Jacobean drama. Female characters had almost turned to stock; being categorized especially as either virginal or a whore. They were, more often than not, treated like commodities to please their male counterparts. They were divided up, used as incentives by men and often compared to money and gold.
In Thomas Middleton’s The Revenger’s Tragedy, Vindice seeks to avenge the murder of his bride, Gloriana. Forsaking all love and respect he may have had for her, he takes her skull and uses it as an almost necrophiliac prop towards his games of duplicity---a metaphor for using women to serve undignified purposes of men. 
Much more is made on the chastity and virtues of the play’s female characters. Vindice’s sister, Castiza, is being persuaded by her mother to receive Lussorioso’s lewd attentions for financial means---Castiza’s chastity in exchange for money. 
A Chaste Maid in Cheapside is another work which draws on the comparison between wealth and a woman’s value. Its female characters come from all walks of soceity; including the young and virtuous Moll (plus her gold-digging mother), the sexually ravenous and older Mrs. Allwit and the barren aristocrat, Lady Kix. And with these females come anti-feminist males from different social classes.
Moll’s mother is keen on having her daughter wed Sir Walter Whorehound, a wealthy and immoral man who is just as his surname describes. He only desires wedding Moll because she is a virgin---whilst engaging in other sexual affairs outside their marriage, of course! The hypocrisy around these women are further demonstrated by the fact that Moll's mother would rather have her prostitute herself than remain virtuous and marry the man she really loved. In a society where being chaste was valued, the mother's views on Moll's contradictory situation was common. 

Furthermore, male misfortunes in the play are made more important than those of the women.

Popular Styles in Jacobean Theatre



The Revenge Tragedy
The revenge play is a form of tragedy which was extremely popular during the Elizabethan and Jacobean periods. 
Though never closely followed, the Senecan model tragedy play includes:
  • A secret murder
  • Ghostly visitations of the murder victim to a younger kinsman
  • Period of disguise, intrigue or plotting in which the murderer and the avenger scheme agaiinst each other, with a slowly rising body count.
  • Descent into real or feigned madness by the avenger or other principal characters.
  • Eruption of general violence at the end 
  • A catastrophe that kills most characters, including the avenger. 
Hamlet and The Revenger’s Tragedy are examples of plays which follow the Senecan model. However, they are both different in their intentions. Shakespeare’s Hamelet complicates and deepens the psycological aspects of its characters. The plain desire for revenge in The Revenger’s Tragedy was, for Prince Hamlet, morally ambivalent. 
Whilst some dramatists (e.g. Shakespeare) embraced character psychology in their revenge plays,  many more relied on the bloody sensationalism of murder and other immoralities to increase the size of their audience. In such plays, the revenger is usually a hero of some sort, out to avenge an undeserved death but is also a killer himself.
“Revenge is all the ambition I aspire;
To that I’ll climb or fall: my blood’s on fire”
- ‘Tis Pity She’s A Whore
The above quote sums up the fundamental objective of a typical Jacobean revenge play. 
Jacobean City Comedy
The Jacobean age brought into fashion a more realistic comedy aimed to satirize the follies, life and manners of people---especially those of London. 
Two examples of this style are Ben Jonson’s The Alchemist and Thomas Middleton’s A Chaste Maid in Cheapside
The Alchemist satirizes human greed and gullibility through its characters from varying social classes. It also focuses on what happens when people seek advantage over one another. Con-artist trio, Subtle, Dol and Face, are ultimately undermined by the very vices they exploit from their victims. This play also manifests the playwright’s own anti-Puritan values through not allowing his Puritan characters to solicit a moment’s pity from the audience.
“I’ll strip the ragged follies of the time
Naked as their birth;
And with a whip of steel
Print wounding lashes on their iron ribs”
- Ben Jonson

Influences in Jacobean Plays


Jacobean Plays had two main influences: Classic Roman/Greek plays and Spanish/Italian melodramas. 
CLASSIC PLAYS
Elizabethan universities studied, and sometimes performed, classic Greek and Roman plays in their original languages. During Queen Elizabeth I’s reign, the English translation of these plays became widely available and began their heavy influence over English playwrights. 
Greek and Roman plays were mainly divided into two categories: Tragedy and Comedy. The first full length English Comedy was Ralph Roister Doister, written around 1553 by Nicholass Udall. Its protagonist, Ralph, was based on Roman playwright Plautus’ Braggart character.
The first full English Tragedy was Gorboduc, written in 1561 by Thomas Norton and Thomas Sackville. Gorboduc was written in a similar style to the Roman Senecan Tragedy play, complete with the Choruses and rhetoric speeches.
The first English tragedies and comedies closely imitated their parents---which meant exploring the concept in Aristotle’s Poetics (which include “plot”, “character”, “theme” and “spectacle”). Poetics also assumed that Tragedy and Comedy should never mix and that the play should occur according to the Unities of Time and Space (the stage should represent one place and all the action occurs within one fictional day, at most)---assumptions the English fortunately eventually rejected. 
“No author exercised a wider or deeper influence upon the Elizabethan mind upon the Elizabethan form of tragedy than did Seneca.” - T.S.Eliot

Seneca (c. 4 BC- 65 AD) was a Roman philosopher and dramatist. He is perhaps most well known for his tragedies, Oedipus, Octavia and Medea. His works were widely read in Europe and influenced Elizabethan and Jacobean playwrights such as Shakespeare and Pierre Corneille. He is regarded as the inspiration for what became the popular “Revenge Tragedy”, beginning with Thomas Kyd’s The Spanish Tragedy

ITALIAN MELODRAMA
A melodrama (“melodramma”) exaggerates characters and plots to appeal to emotions. Jacobeans had a popular taste for melodramatic sensationalism, featuring much violence, “blood and thunder”. 
From the point of view of story alone,  (Elizabethan playwright) Christopher Marlowe’s Tamburlaine and The Jew of Malta, and The Spanish Tragedy are all melodramas. Unlike those, however, Jacobean works succeeded only in covering the stage with revolting amounts of blood instead of delivering stories in more poetic styles. 


Additionally, the Italian/Spanish influence on English plays are evident in the plays’ settings; for example, The Revenger’s Tragedy is set in an Italian court with characters Hippolito, Piato, Castizia etc. The Duchess of Malfi featured the characters Antonio Bolgna, Silvio, Roderigo etc.  




Seneca's bust

In Performance


A young actor. 1606.
It is midday and I’m standing before the Globe. I’ve just spent my last two pence on a small jar of lollies---all I got left after giving the master my two shillings. It is still another two hours until the show begins but Mr. Burbage says it’s important to feel the theatre first, especially someone play acting in front of a real audience for the first time. (I’m also lucky that my first performance will be to a full house of 3000!)
I can see the sun moving to where it’s supposed to be, high up in the sky and away from the Globe’s pillars. Mr. Burbage told me that once, a very long time ago when he was still a boy player, the sun wasn’t where it was meant to be and he had to stay under a pillar shadow for an entire two scenes! What a shame for nobody would have seen him! But I know better. I’m not hiding behind some shadow for nothing!
Mr. Burbage and the theatre owner told me I had a very pretty face so I’ve been charged to face the Lord’s Rooms whenever I could. I have 23 lines, you know, and they said I should deliver them to the richer folk because they would probably be more “relevant” to them. Gangly Tom has to face the Groundlings, poor boy. I hope they don’t throw their nut shells at him (I think he still has a bruise from a rotten apple hurled at him the other day)! He isn’t very good (I cannot understand why the King’s Men continue to train and board him!), you know, and has only seven lines which have to be delivered to the poor folk. Tom is great friends with the Prompter though, because, goodness knows, he always forgets his lines! 
Oh, look! I can see Nathan Field sitting by that tree reading his part. The scroll sure looks awful long; his part must be very big in the next play! Nathan is three and a half years older than I am and was one of Mr. Burbage’s favorite apprentices. I hope I could be like him one day and get big parts in Mr. Shakespeare and Mr. Middleton’s plays. Or maybe I could play heaps of different parts like he did years ago during Julius Caesar! There were more than 40 roles in that play and Matthew was one of the lucky 15 to have been chosen to form its cast. His acting style had been so different for each role, I never would have guessed him to be the same person the whole time!
A young actor. 2011. 
This has to be the best excursion ever! I just performed Viola’s monologue at The Globe’s stage and am now waiting for my director’s feedback. This stage is really strange! The audience pretty much surrounds me which makes most modern acting techniques useless on this stage. There are audience members positioned to the very ends of the round apron who would be looking at the show almost completely from behind! The “No backs to the audience” rule today would be completely laughable to the Elizabethan and Jacobean people. 
I’m standing on the front corner of the stage instead of downstage centre because the pillars would obstruct me from half the audience---not that it matters too much anyway because this style focuses more on being heard than being seen. 
A bright side to this space is how unbelievable the acoustics are! The Globe’s oak frame projects anything. I learnt that the hard way. The director said I practically yelled the first section of my monologue. Everyone did that, though, because you couldn’t tell from the stage.
Ugh, there’s Cassie, talking on her Iphone, as per usual. I suppose I can’t complain though. “Groundlings” back then could lean on the stage and yell or whistle at the actors if they wanted to. It was even encouraged by the Artistic Director! Can you imagine trying to perform like that?! The people in front of you are consuming and selling nuts and ale, your stuff is being stolen by pickpockets and prostitutes hang around, looking for customers! These days, you’d be feeling the glaring hatred of people around you just for eating Malteasers because the packet makes too much noise! 


Summaries of 3 important plays


The Spanish Tragedy (1592) by Thomas Kyd 
The play begins with the ghost of Don Andrea, recently killed in a battle with Portugal, accompanied by the spirit of Revenge. He was killed in combat with the Portuguese Prince Balthazar, after having a falling in love with Bel-Imperia. Don Andrea is sent back to earth with Revenge who promises him that by the play’s ending, he shall have seen to his revenge. 
They remain on stage throughout the play, making occasional commentary on impending doom.  
Brave Horatio captures Balthazar of Portugal in battle and brings him to the Spanish court.  His prisoner is not imprisoned, but is given freedom in the trusting care of Lorenzo.  Balthazar then seeks to win the hand of Bel-Imperia, widow of the late Andrea.  She, however, is loathe to marry her husband's murderer and falls in love with Horatio.  This fact, plus Horatio's previous victory, incenses Balthazar, who, with the encouragement and help of Lorenzo (boo, hiss), brutally murders Horatio.
They and their accomplices kidnap Bel-Imperia in order to hide her and to let Balthazar woo her.  Hieronimo, Horatio's bereaved father, desires vengeance, but is ignorant of the identity of the murderers until Bel-Imperia sends him a letter indicting her ruthless brother and the foreign prince.  Hieronimo hesitates, fearing that the letter is a trick.  Meanwhile, Lorenzo, fearing discovery, coolly disposes of his two trusting accomplices, but Hieronimo discovers a letter on the body of one of them, which confirms the guilt of Lorenzo and Balthazar.  He then suffers lapses of madness and considers suicide.  His wife, driven to madness by the delay in revenge for her son, does kill herself.  Bel-Imperia chastises Hieronimo for not having avenged Horatio's death and pushes him toward the final scene.  He plans a presentation of a play to the court, using his avowed enemies as players.  They, along with Bel-Imperia, take parts.  In full view of all, they present the play.  Hieronimo stabs Lorenzo, whereupon Bel-Imperia stabs Balthazar and herself.  Hieronimo drags out the body of his dead son and briefly unfolds the tale.  When pressed for further details, he bites off his tongue.  He then stabs Lorenzo's innocent father with a penknife and commits suicide.  Andrea's ghost comments and asks to be allowed to judge the guilty and assign their penalties.  This request is granted by Revenge, who takes him to the dark regions where the guilty will "begin their endless tragedy."
(Taken from http://cla.calpoly.edu) 


The Revenger’s Tragedy (1607) by Thomas Middleton

Vindice has long sought his chance to avenge the death of his betrothed, Gloriana, poisoned by the lecherous but now ageing Duke when she spurned his importunate advances. Now, Vindice's brother Hippolito, in the service of the Duke's son Lussurioso, persuades his master to engage Vindice, disguised as the malcontented Piato, to pursue his own lustful designs - as it emerges, against their sister Castiza. As Piato, Vindice tests the virtue of Castiza, who remains resolute in her honour, but to his distress he is able to persuade their mother Gratiana to plead Lussurioso's cause.
Meanwhile, the Duke's youngest stepson is put on trial for the rape of the courtier Antonio's virtuous wife, who has taken her own life rather than endure the dishonour. But the brazenly guilty princeling is given a stay of sentence by the Duke at the pleading of his mother. The Duchess is herself enamoured of the Duke's bastard son, Spurio, and - hoping to divert Lussurioso from visiting Castiza - Vindice as Piato tells him of this affair. However, Lussurioso surprises not the guilty couple as he expects, but his own father - who assumes that he himself is the object of his son's murderous intentions and packs him off to prison.
Secretly happy at the prospect of their stepbrother's demise, the Duchess's elder sons, Supervacuo and Ambitioso, persuade the Duke to give them a signer ring as token of authority for his execution - but the Duke's guilty conscience prompts him to send a reprieve, and the ring is assumed to authorise the death of their own younger brother.
As Piato, Vindice has been hired by the still-lustful Duke to procure the favours of a 'country lady', and he arranges the meeting to coincide with an assignation between the Duchess and Spurio. The Duke is deceived into kissing the poisoned lips of Gloriana's garishly-adorned skull, and dies in agony after also being forced to watch his wife's guilty embraces.
Lussurioso determines to rid himself of the services of Piato, accusing him to Hippolito and Vindice (now presented in his own person) of seeking to corrupt their sister. The brothers bring Gratiana to repent her earlier laxity, and mother and daughter are reconciled. Lussurioso, as the new Duke, banishes the Duchess, but during the celebrations for his succession he is murdered by Vindice and Hippolito at the climax of a masque. Ambitioso, Supervacuo, and Spurio are also killed in the ensuing confusion, after which Vindice and Hippolito, expecting the gratitude of the newly-elevated Antonio, confess to the old Duke's murder. But Antonio, fearful of their future intentions, orders their immediate execution.

(Taken from www.theblackhatstation.com)


You probably didn't read all of that...

A Chaste Maid in Cheapside (First performed 1611-1613) by Thomas Middleton
The play presents three plots centered around the marriage of Moll Yellowhammer, the titular maid, who is daughter to a wealthy Cheapside goldsmith. Moll loves Touchwood Junior, a poor gallant; her father, however, has betrothed her to Sir Walter Whorehound, a philandering knight eager for Moll's dowry. As a kind of side-bargain, Sir Walter has promised Moll's brother Tim a "landed niece" from Wales. Tim, an idiotic scholar, returns to London from Cambridge University, with his Latin tutor. This "landed niece" is in reality one of Sir Walter's mistresses, who has no land in actuality. Sir Walter is also having an affair with the wife of Allwit, a knowing cuckold, who lives on the money Sir Walter gives his wife.
Meanwhile, Touchwood Senior (the elder brother of Moll's true love) prepares to depart from his wife; prodigiously fertile, he impregnates any woman he sleeps with. He and his wife must separate to avoid another pregnancy. His salvation comes from the Kixes, an aging couple who have not been able to conceive. This is important because if they have a child before Sir Walter (a relation of theirs) begets a legitimate heir, they will inherit Sir Walter's fortune. A maid tells the Kixes that Touchwood makes a special fertility potion; Touchwood deceives his way into the bed of Lady Kix.
After an abortive attempt to elope with Touchwood Junior, Moll is guarded at home. The day before the wedding, Moll flees her parents' home. Caught while attempting to cross the Thames, she is drenched and seems to fall sick upon being brought home. Touchwood Junior and Sir Walter fight in the street, and both are wounded.
Sir Walter believes that he is near death. At Allwit's house, he repents all of his sins, condemning the Allwits for indulging him. When news is brought that Lady Kix is pregnant (thus ruining Sir Walter's prospects), the Allwits kick him out and plan to sell all Sir Walter's gifts and purchase a home in The Strand.
Moll continues very sick; when Touchwood Senior brings word that his brother has died, she faints and appears to die. Saddened, the Yellowhammers agree to Touchwood Senior's request that the young lovers receive a joint burial. At the funeral, Moll and Touchwood Junior rise from their coffins and the mourning turns to celebration. The two are wed, as Tim and the Welsh "niece" had been earlier that day; Kix promises to support the family of Touchwood Senior, who announces that Sir Walter has been imprisoned for debt. All exit, headed for a celebratory dinner.
(Taken from www.wikipedia.com)

Confuddled?