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This edition seeks to evaluate Antonio's Revenge not merely as a literary text but as a drama for a particular company, in a specific theatre. The scholarly introduction explores the high degree of originality in Marston's dramatic techniques and establishes him as a leading innovator in both the language and the dramaturgy of his day. Ostensibly the second part of Antonio and Mellida, a satiric romance published in 1599, Antonio's Revenge differs in both theme and linguistic style. Reavley Gair offers an insightful analysis of the play's relationship with Shakespeare's Hamlet --written at about the same time--and a new interpretation of the relations between dramatic companies at the Globe and the Paul's Theatre.
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As the Elizabethan era gave way to the reign of James I, England grappled with corruption within the royal court and widespread religious anxiety. Dramatists responded with morally complex plays of dark wit and violent spectacle, exploring the nature of death, the abuse of power and vigilante justice. In Kyd's The Spanish Tragedy a father failed by the Spanish court seeks his own bloody retribution for his son's murder. Shakespeare's 1603 version of Hamlet creates an avenging Prince of unique psychological depth, while Chettle's The Tragedy of Hoffman is a fascinating reworking of Hamlet's themes, probably for a rival theatre company. In Marston's Antonio's Revenge, thwarted love leads inexorably to gory reprisals and in Middleton's The Revenger's Tragedy, malcontent Vindice unleashes an escalating orgy of mayhem on a debauched Duke for his bride's murder, in a ferocious satire reflecting the mounting disillusionment of the age. Emma Smith's introduction considers the political and religious climate behind the plays and the dramatic conventions within them. This edition includes a chronology, playwrights' biographies and suggestions for further reading.
Considering major works by Kyd, Shakespeare, Middleton and Webster among others, this book transforms current understanding of early modern revenge tragedy. Examing the genre in light of historical revisions to England's Reformations, and with appropriate regard to the social history of the dead, it shows revenge tragedy is not an anti-Catholic and Reformist genre, but one rooted in, and in dialogue with, traditional Catholic culture. Arguing its tragedies are bound to the age's funerary performances, it provides a new view of the contemporary theatre and especially its role in the religious upheavals of the period.
This Is A New Release Of The Original 1922 Edition.
An action-packed, mythological chapter book series from Tony Abbott! The underworlds are rising -- and no one is safe.Loki is waging war, and Pinewood Bluffs is about to become his battlefield. Owen, Dana, Jon, and Sydney know they have to stop him. They'll do whatever it takes.But when they stow away in Loki's sledge and emerge in a new, mysterious underworld they know nothing about, things get complicated. The Babylonian underworld is dark as night and full of vicious monsters, including the dreaded Scorpion King. Will Owen and his friends ever make it back to Pinewood Bluffs?
This play is a sequel to the romantic comedy Antonio and Mellida. Unlike its predecessor, however, Antonio's Revenge is a revenge tragedy. Antonio and Mellida ended with a scene in which the two lovers were reconciled, with the villain, Mellida's father, Duke Piero, apparently repenting his attempts to keep them apart. Antonio's Revenge begins where the previous play ended. It is revealed that Piero has not really reformed: he still hates Antonio, and is determined to prevent his daughter's marriage to him. Piero murders and imprisons various characters, driving Mellida herself to die of grief, before Antonio teams up with other wronged individuals to carry out a revenge on the wicked Duke, which they do through a masque in the play's last act.