The Revenger's Tragedy: “He that climbs highest had the greatest fall.”
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About this ebook
Thomas Middleton was born in London in April 1580 and baptised on 18th April. Middleton was aged only five when his father died. His mother remarried but this unfortunately fell apart into a fifteen year legal dispute regarding the inheritance due Thomas and his younger sister. By the time he left Oxford, at the turn of the Century, Middleton had and published Microcynicon: Six Snarling Satirese which was denounced by the Archbishop of Canterbury and publicly burned. In the early years of the 17th century, Middleton wrote topical pamphlets. One – Penniless Parliament of Threadbare Poets was reprinted several times and the subject of a parliamentary inquiry. These early years writing plays continued to attract controversy. His writing partnership with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the so-called War of the Theatres. His finest work with Dekker was undoubtedly The Roaring Girl, a biography of the notorious Mary Frith. In the 1610s, Middleton began another playwriting partnership, this time with the actor William Rowley, producing another slew of plays including Wit at Several Weapons and A Fair Quarrel. The ever adaptable Middleton seemed at ease working with others or by himself. His solo writing credits include the comic masterpiece, A Chaste Maid in Cheapside, in 1613. In 1620 he was officially appointed as chronologer of the City of London, a post he held until his death. The 1620s saw the production of his and Rowley's tragedy, and continual favourite, The Changeling, and of several other tragicomedies. However in 1624, he reached a peak of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. Though Middleton's approach was strongly patriotic, the Privy Council silenced the play after only nine performances at the Globe theatre, having received a complaint from the Spanish ambassador. What happened next is a mystery. It is the last play recorded as having being written by Middleton. Thomas Middleton died at his home at Newington Butts in Southwark in the summer of 1627, and was buried on July 4th, in St Mary's churchyard which today survives as a public park in Elephant and Castle.
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The Revenger's Tragedy - Thomas Middleton
The Revenger's Tragedy by Thomas Middleton
Thomas Middleton was born in London in April 1580 and baptised on 18th April.
Middleton was aged only five when his father died. His mother remarried but this unfortunately fell apart into a fifteen year legal dispute regarding the inheritance due Thomas and his younger sister.
By the time he left Oxford, at the turn of the Century, Middleton had and published Microcynicon: Six Snarling Satirese which was denounced by the Archbishop of Canterbury and publicly burned.
In the early years of the 17th century, Middleton wrote topical pamphlets. One – Penniless Parliament of Threadbare Poets was reprinted several times and the subject of a parliamentary inquiry.
These early years writing plays continued to attract controversy. His writing partnership with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the so-called War of the Theatres.
His finest work with Dekker was undoubtedly The Roaring Girl, a biography of the notorious Mary Frith.
In the 1610s, Middleton began another playwriting partnership, this time with the actor William Rowley, producing another slew of plays including Wit at Several Weapons and A Fair Quarrel.
The ever adaptable Middleton seemed at ease working with others or by himself. His solo writing credits include the comic masterpiece, A Chaste Maid in Cheapside, in 1613.
In 1620 he was officially appointed as chronologer of the City of London, a post he held until his death.
The 1620s saw the production of his and Rowley's tragedy, and continual favourite, The Changeling, and of several other tragicomedies.
However in 1624, he reached a peak of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. Though Middleton's approach was strongly patriotic, the Privy Council silenced the play after only nine performances at the Globe theatre, having received a complaint from the Spanish ambassador.
What happened next is a mystery. It is the last play recorded as having being written by Middleton.
Thomas Middleton died at his home at Newington Butts in Southwark in the summer of 1627, and was buried on July 4th, in St Mary's churchyard which today survives as a public park in Elephant and Castle.
Index of Contents
Dramatis Personae
ACT I
Scene I - Outside Vindici's House
Scene II - A Court of Law
Scene III - The Palace
Scene IV - Antonio's House
ACT II
Scene I - Vindici's House
Scene II - The Palace
Scene III -The Duke's Bedchamber
ACT III
Scene I - The Palace
Scene II - Outside the Prison
Scene III - The Prison
Scene IV - Junior Brother's Cell in the Prison
Scene V - A Lodge
Scene VI - The Prison
ACT IV
Scene I - The Palace
Scene II - The Palace
Scene III - The Palace
Scene IV - Vindici's House
ACT V
Scene I - A Room in the Palace
Scene II - Vindici's House
Scene III - The Palace Banqueting Hall
Thomas Middleton – A Short Biography
Thomas Middleton – A Concise Bibliography
Dramatis Personae
in order of appearance
VINDICI, the revenger, sometimes disguised as Piato
HIPPOLITO, his brother
GRATIANA, his mother
CASTIZA, his sister
DUKE
Two JUDGES
DUCHESS
LUSSURIOSO, the Duke's son by a previous marriage
AMBITIOSO, the eldest of the Duchess's three sons by a previous marriage
SPURIO, the Duke's bastard son
JUNIOR, the Duchess's youngest son
SUPERVACUO, the Duchess's middle son
ANTONIO, a virtuous old lord
PIERO, a virtuous lord
DONDOLO, Castiza's servant
LORDS
Two SERVANTS of Spurio
NOBLES
Four prison OFFICERS
A prison KEEPER
GENTLEMEN
NENCIO }
SORDIDO } Lussurioso's attendants
A FOURTH MAN in the final masque, Ambitioso's henchman
Guards
ACT I
SCENE I - Outside Vindici's House
Enter VINDICI with a skull; the DUKE, DUCHESS, LUSSURIOSO his son, SPURIO the bastard, with a train pass over the stage with torchlight.
VINDICI
Duke, royal lecher, go, gray-hair'd adultery;
And thou his son, as impious steep'd as he;
And thou his bastard, true-begot in evil;
And thou his duchess that will do with the devil:
Four ex'lent characters. Oh, that marrowless age
Would stuff the hollow bones with damn'd desires,
And stead of heat kindle infernal fires
Within the spendthrift veins of a dry duke,
A parch'd and juiceless luxur! Oh God, one
That has scarce blood enough to live upon!
And he to riot it like a son and heir?
Oh, the thought of that
Turns my abused heartstrings into fret!
Thou sallow picture of my poisoned love,
My study's ornament, thou shell of death,
Once the bright face of my betrothed lady,
When life and beauty naturally fill'd out
These ragged imperfections,
When two heaven-pointed diamonds were set
In those unsightly rings: then 'twas a face
So far beyond the artificial shine
Of any woman's bought complexion
That the uprightest man, if such there be,
That sin but seven times a day, broke custom
And made up eight with looking after her.
Oh, she was able to ha' made a usurer's son
Melt all his patrimony in a kiss,
And what his father fifty years told
To have consum'd, and yet his suit been cold!
But oh, accursed palace!
Thee, when thou wert apparel'd in thy flesh,
The old duke poison'd,
Because thy purer part would not consent
Unto his palsy-lust, for old men lustful
Do show like young men angry, eager-violent,
Outbid like their limited performances.
Oh, 'ware an old man hot and vicious!
Age, as in gold, in lust is covetous.
Vengeance, thou murder's quit-rent, and whereby
Thou shouldst thyself tenant to tragedy,
Oh, keep thy day, hour, minute, I beseech,
For those thou hast determin'd! Hum: whoe'er knew
Murder unpaid? Faith, give revenge her due:
Sh'as kept touch hitherto. Be merry, merry;
Advance thee, O thou terror to fat folks,
To have their costly three-pil'd flesh worn of
As bare as this: for banquets, ease, and laughter
Can make great men, as greatness goes by clay,
But wise men little are more great than they.
[Enter his brother HIPPOLITO.
HIPPOLITO
Still sighing o'er death's vizard?
VINDICI
Brother, welcome;
What comfort bringst thou? How go things at court?
HIPPOLITO
In silk and silver, brother; never braver.
VINDICI
Puh,
Thou play'st upon my meaning. Prithee say,
Has that bald madam, opportunity,
Yet thought upon's? Speak, are we happy yet?
Thy wrongs and mine are for one scabbard fit.
HIPPOLITO
It may prove happiness.
VINDICI
What is't may prove?
Give me to taste.
HIPPOLITO
Give me your hearing then.
You know my place at court.
VINDICI
Ay, the duke's chamber.
But 'tis a marvel thou'rt not turn'd out yet!
HIPPOLITO
Faith, I have been shov'd at, but 'twas still my hap
To hold by th' duchess' skirt. You guess at that;
Whom such a coat keeps up can ne'er fall flat.
But to the purpose.
Last evening predecessor unto this,
The duke's son warily enquir'd for me,
Whose pleasure I attended: he began
By policy to open and unhusk me
About the time and common rumour;
But I had so much wit to keep my thoughts
Up in their built houses, yet afforded him
An idle satisfaction without danger.
But the whole aim and scope of his intent
Ended in this: conjuring me in private
To seek some strange-digested fellow forth
Of ill-contented nature, either disgrac'd
In former times, or by new grooms displac'd
Since his stepmother's nuptials, such a blood
A man that were for evil only good;
To give you the true word, some base-coin'd pander.
VINDICI
I reach you,