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"Bussy D'Ambois" and "The Revenge of Bussy D'Ambois" by George Chapman are two captivating plays that offer a compelling exploration of honor, ambition, and the pursuit of power in Renaissance France. Set against the backdrop of the French Wars of Religion, the plays follow the tumultuous life and tragic fate of the charismatic nobleman Bussy D'Ambois. In "Bussy D'Ambois," we are introduced to the titular character, a gallant and ambitious courtier who becomes embroiled in the deadly rivalries and intrigues of the French court. As Bussy navigates the treacherous world of politics and romance, he finds himself torn between his loyalty to his king and his own personal ambitions. "The Revenge of Bussy D'Ambois" continues the story as Bussy seeks vengeance for the betrayal and murder of his beloved. Consumed by rage and driven by a thirst for justice, Bussy embarks on a quest for revenge that will ultimately lead to his own downfall.
The Revenge Tragedy flourished in Britain in the late Elizabethan and Jacobean period for both literary and cultural reasons. Thomas Kyd's The Spanish Tragedy (1587) helped to establish the popularity of the genre, and it was followed by The Revenger's Tragedy (1606), published anonymously and ascribed first to Cyril Tourneur and then to Thomas Middleton. George Chapman's The Revenge of Bussy D'Ambois and Tourneur's The Atheist's Tragedy were written between 1609 and 1610. Each of the four plays printed here defines the problems of the revenge genre, often by exploiting its conventions in unexpected directions. All deal with fundamental moral questions about the meaning of justice and the lengths to which victimized individuals may go to obtain it, while registering the social strains of life in a rigid but increasingly fragile social hierarchy.
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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.
The last decade has seen a revival of interest in John Ford and especially 'Tis Pity She's a Whore, his tragedy of religious scepticism, incestuous love, and revenge. This text in particular has provided a focus for scholarship as well as being the subject of a number of major theatrical productions. Simon Barker guides the reader through the full range of previous interpretations of the play; moving from an overview of traditional readings he goes on to enlarge upon new questions that have arisen as a consequence of critical and cultural theory.
More widely studied and more frequently performed than ever before, John Webster's The Duchess of Malfi is here presented in an accessible and thoroughly up-to-date edition. Based on the Revels Plays text, the notes have been augmented to cast further light both on Webster's amazing dialogue and on the stage action. An entirely new introduction sets the tragedy in the context of pre-Civil War England and gives a revealing view of its imagery and dramatic action. From its well-documented early performances to the two productions seen in the West End of London in the 1995-96 season, a stage history gives an account of the play in performance. Students, actors, directors and theatre-goers will all find here a reappraisal of Webster's artistry in the greatest age of English theatre, which highlights why it has lived on stage with renewed force in the last decades of the twentieth century.