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lusts after. The brothers decide that
Vindice will undertake this role in disguise, to give an opportunity for their revenge. Meanwhile, Lord Antonio's wife has been raped by the new Duchess's youngest son Junior. He brazenly admits his guilt, even joking about it, but to widespread surprise the Duke suspends the proceedings and defers the court's judgement. The Duchess's other sons, Ambitioso and Supervacuo, whisper a promise to have him freed; the Duchess vows to be unfaithful to the Duke. Spurio, the Duke's bastard son, agrees to be her lover but when alone, declares he hates her and her sons as intensely as he hates the Duke and Lussurioso. Vindice, disguised as "Piato," is accepted by Lussurioso, who tells him that the virgin he desires is Hippolito's sister, Castiza; and he predicts her mother will accept a bribe and be a 'bawd to her own daughter'. Vindice, alone, vows to kill Lussurioso, but decides meanwhile to stay in disguise and put his mother and sister to the test by tempting them. Antonio's wife commits suicide; Antonio displays her dead body to fellow mourners and Hippolito swears all those present to revenge her death.
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to execute, in their words, "our brother the duke's son." The guards misinterpret these words, taking instead the youngest son out to instant execution. Meanwhile, Vindice is hired again as a pander – this time by the Duke himself. His plan is to procure the Duke an unusual lady – a richly clothed effigy, her head, the skull of
Vindice's beloved, is covered with poison. The meeting is in a dark and secret place near where the Duchess has arranged a meeting with Spurio. The Duke is poisoned by kissing the supposed lady and is subsequently stabbed by Vindice after being forced to watch the Duchess betray him with Spurio. Ambitioso and Supervacuo, still confident that Lussurioso has been executed, both look forward to succeeding the throne in his place. A freshly severed head is brought in from prison. Assuming it is Lussurioso's, they are gloating over it when Lussurioso himself arrives, alive. They realize to their dismay that the head is the youngest son's.
301:, which claims that the play is essentially a form of radical parody that challenges orthodox Jacobean beliefs about Providence and patriarchy. Dollimore asserts the play is best understood as "subversive black camp" insofar as it "celebrates the artificial and the delinquent; it delights in a play full of innuendo, perversity and subversion ... through parody it declares itself radically skeptical of ideological policing though not independent of the social reality which such skepticism simultaneously discloses". In Dollimore's view, earlier critical approaches, which either emphasise the play's absolute decadence or find an ultimate affirmation of traditional morality in the play, are insufficient because they fail to take into account this vital strain of social and ideological critique running throughout the tragedy.
343:"Gloriana's skull is a prop endowed with remarkable spectacular and material efficacy." Vindice has kept the skull long after his beloved's death and has used it to attract the duke to his death, a kiss of death was bestowed. Considering the description of the skull it should be impossible to discern its gender yet throughout in each section it is mentioned with the gender of a woman attributed to a woman. Vindice's use of the skull to kill the duke borders on a form of prostitution which also implies the sexual nature surrounding the partial corpse. Vindice, in act 3, scene 5 enters "with the skull of his love dressed up in tires"; in Coddon's view, the skull's gendering is clearly a contrivance.
187:. A moment later Lussurioso himself enters, on his way to Castiza, but Vindice deceptively warns him that Spurio is bedding the Duchess. Angered, Lussurioso rushes off to find Spurio and bursts into the ducal bedchamber, only to find his father lawfully in bed with the Duchess. Lussurioso is arrested for attempting treason; in the excitement, Hippolito and Vindice discreetly withdraw. The Duke, seeing through Ambitioso and Supervacuo's pretended reluctance to see Lussurioso executed, dispatches them with a warrant for the execution of his son "ere many days," but once they have gone he gives a countermanding order for his son's release.
334:
they sprang in effect from the mother alone—the word itself deriving from "spurium," an ancient term for the female genitalia. As Thomas
Laqueur puts it, "while the legitimate child is from the froth of the father, the illegitimate child is from the seed of the mother's genitals, as if the father did not exist." The idea of Spurio and his character provides the function of "bastardy in the misogynist gender politics of the play."
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Ambitioso, and Spurio then arrives; they discover their intended victims already dead, and then turn on and kill each other. The dying
Lussurioso is unable to expose Vindice's treacheries to Lord Antonio. Exhilarated by his success and revenge, Vindice confides in Antonio that he and his brother murdered the old Duke. Antonio, appalled, condemns them to execution. Vindice, in a final speech, accepts his death.
233:: a young man is driven to avenge an elder's death (in this case it's a lover, Gloriana, instead), which was caused by the villainy of a powerful older man; the avenger schemes to effect his revenge, often by morally questionable means; he finally succeeds in a bloodbath that costs him his own life as well. However, the author's tone and treatment are markedly different from the standard
183:. Vindice gives Lussurioso the false news that Castiza's resistance to his advance is crumbling. Lussurioso resolves he must sleep with her that same night. Hippolito and Vindice, by chance, overhear a servant tell Spurio that Lussurioso intends to sleep with Castiza "within this hour." Spurio rushes away to kill Lussurioso
29:
401:(Oxford, 2007). Two important editions of the 1960s that attributed the play to Tourneur switched in the 1990s to stating no author (Gibbons, 1967 and 1991) or to crediting "Tourneur/Middleton" (Foakes, 1966 and 1996), both now summarising old arguments for Tourneur's authorship without endorsing them.
333:
Michael Neill notes that the name "Spurio" derives from the Latin term "spurius" which does not mean just any illegitimate offspring, but "one born from a noble but spouseless mother to an unknown or plebeian father." These children, who could not take the paternal name, were called "spurius" because
195:
Ambitioso and
Supervacuo set off directly to the prison to order the instant execution of Lussurioso. Before they arrive however (and unknown to them) the Duke's countermanding order is obeyed and Lussurioso is freed. Ambitioso and Supervacuo arrive at the prison and present the Duke's first warrant
375:
The critics who supported the
Tourneur attribution argued that the tragedy is unlike Middleton's other early dramatic work, and that internal evidence, including some idiosyncrasies of spelling, points to Tourneur. More recent scholarly studies arguing for attribution to Middleton point to thematic
204:
Lussurioso tells
Hippolito he wants to get rid of "Piato," and asks if Vindice (of whom he knows only by report) would replace him. Hippolito assents, realizing that Lussurioso would not recognize Vindice without a disguise. Vindice gets his new mission – to kill "Piato". Hippolito and Vindice take
170:
Vindice broods over his fiancée's recent death and his desire for revenge on the lustful Duke for poisoning his beloved nine years before. Vindice's brother
Hippolito brings news: Lussurioso, the Duke's heir by his first marriage, has asked him if he can find a procurer to obtain a young virgin he
475:
The medieval qualities in the play are described by
Lawrence J. Ross as, "the contrasts of eternity and time, the fusion of satirically realistic detail with moral abstraction, the emphatic condemnation of luxury, avarice and superfluity, and the lashing of judges, lawyers, usurers and women." To
420:
theatre. It is written in 5 acts and opens with a monologue that looks back at previous events and anticipates future events. This monologue is spoken by
Vindice, who says he will take revenge and explains the corruption in court. It uses onomastic rhetoric in Act 3, scene 5 where characters play
73:
A vivid and often violent portrayal of lust and ambition in an Italian court, the play typifies the satiric tone and cynicism common in many Jacobean tragedies. The play fell out of favour before the restoration of the theaters in 1660; however, it experienced a revival in the 20th century among
314:
The Duchess, Castiza, and Gratiana are the only female characters in the play. Gratiana ("grace"), Vindice's mother, exemplifies female frailty. This is such a stereotyped role that it discourages looking at her circumstance in the play, but because she is a widow it could be assumed to include
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The scheme with the Duke's corpse is successful and the Duke's death becomes public knowledge. Vindice and Hippolito lead a group of conspirators which, shortly after the installation of Lussurioso as Duke, kills the new Duke and his supporters. A second group of murderers including Supervacuo,
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the corpse of the Duke and dress it in "Piato's" clothes, so when the corpse is found it will be assumed that "Piato" murdered the Duke then switched clothes with him to escape. Vindice and Hippolito confront Gratiana for her earlier willingness to prostitute Castiza bringing her to repentance.
329:
handles received conventions, however, it is an open question as to how far the presentation of gender in the play is meant to be accepted as conventional, or instead as parody. The play is in accordance with the medieval tradition of Christian Complaint, and Elizabethan satire, in presenting
342:
While the play does not quite imply sexual intercourse with a corpse, some critics have found a strong connection to desire that can be found in the instances where the skull is used. According to Karin S. Coddon, there is a sense of macabre eroticism that pervades the work. She notes that
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sexuality mainly as symptomatic of general corruption. Even though Gratiana is the mother of a decent, strong-minded daughter, she finds herself acting as a bawd. This personality-split is then repeated, in an episode exactly reversing the pattern, by her ironic, intelligent daughter.
437:. In another adaptation of Seneca, there is a strong element of meta-theatricality as the play makes references to itself as a tragedy. For example, in Act 4, scene 2, "Vindice: Is there no thunder left, or is't kept up /In stock for heavier vengeance There it goes!"
241:'s assumption of the English throne had begun to give way to the beginnings of dissatisfaction with the perception of corruption in his court. The new prominence of tragedies that involved courtly intrigues seems to have been partly influenced by this dissatisfaction.
451:
which is unlike anything found in a Shakespeare play. This idea is discussed in a scholarly article written by Scott McMillin, who addresses Howard Felperin's views of the two plays. McMillin goes on to disagree with the idea of a "moral disorientation", and finds
549:, led by Philippe Van Kessel, also staged the play in 1989. In this production, the actors wore punk costumes and the play took place in a disquieting underground location which resembled both a disused parking lot and a ruined Renaissance building.
1234:
390:, Darren Freebury-Jones provides overwhelming computational evidence in favour of Middleton rather than Tourneur's authorship, showing that the play's language closely approximates Middleton's style but is far removed from Tourneur's.
424:
The play also adapts Senecan attributes with the character Vindice. At the end of the play he is a satisfied revenger, which is typically Senecan. However, he is punished for his revenge, unlike the characters in Seneca's
421:
upon their own names, a trait considered to be Senecan. The verbal violence is seen as Senecan, with Vindice in Act 2, scene 1, calling out against heaven, "Why does not heaven turn black or with a frown/Undo the world?"
83:
Vindice, the revenger, frequently disguised as Piato (both the 1607 and 1608 printings render his name variously as Vendici, Vindic, and Vindice, with the latter spelling most frequent; in later literature
296:
during the 20th century. The approach of these revivals mirrors shifting views of the play on the part of literary critics. One of the most influential 20th-century readings of the play is by the critic
355:(Loughrey and Taylor, xxv). A second edition, also anonymous (actually consisting of the first edition with a revised title-page), was published later in 1607. The play was first attributed to
315:
financial insecurity, which could help explain her susceptibility to bribery. Her daughter also has an exemplary name, Castiza ("chastity"), as if to fall in line with the conventions of the
468:
time is discussed in wider ranges, which is especially apparent when Hamlet himself thinks of death. This is also very different from Vindice's dialogue, as well as dialogue altogether in
248:
but becoming ascendant in the few years following. The episcopal ban on verse satire in 1599 appears to have impelled some poets to a career in dramaturgy; writers such as
367:
cast doubt on the attribution in 1923 (Chambers, 4.42), and over the course of the twentieth century a considerable number of scholars argued for attributing the play to
363:
in lists of 1661 and 1671. Tourneur was accepted as the author despite Archer's unreliability and the length of time between composition and attribution (Greg, 316).
480:
does not personify this trait with a character, it is mentioned in the opening monologue with a capital, thereby giving it more weight than a regular noun.
244:
This trend towards court-based tragedy was contemporary with a change in dramatic tastes toward the satiric and cynical, beginning before the death of
256:
brought to the theatres a lively sense of human frailty and hypocrisy. They found fertile ground in the newly revived children's companies, the
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The play is attributed to Middleton in Jackson's facsimile edition of the 1607 quarto (1983), in Bryan Loughrey and Neil Taylor's edition of
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Vindice, disguised as "Piato," tests the virtue of his sister and mother. Castiza proves resolute but his mother yields to an offer of
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The play was published anonymously in 1607; the title page of this edition announced that it had been performed "sundry times" by the
1634:
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is truly about theater, and self-abandonment within theatrics and the play itself. It is also noted that the most common adverb in
371:. There are indications that this play was submitted by Middleton to Robert Keysar of The Queen's Revels company under the name of
614:
In 2005 the play was produced at London's Southwark Playhouse with Kris Marshall as Vindice and was directed by Gavin McAlinden.
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treatment in ways that can be traced to both literary and historical causes. Already by 1606, the enthusiasm that accompanied
950:
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Baker, Howard. "Ghosts and Guides: Kyd's 'Spanish Tragedy' and the Medieval Tragedy". Modern Philology 33.1 (1935): p. 27
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played Vindice. Executed on a tight budget (designer Christopher Morley had to use the sets from the previous year's
264:; these indoor venues attracted a more sophisticated crowd than that which frequented the theatres in the suburbs.
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1166:. (The Revels Plays.) London: Methuen, 1966. Revised as Revels Student edition, Manchester University Press, 1996
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played Vindice. It was also staged by the New York Protean Theatre in 1996. A Brussels theatre company called
562:, which changed the major characters into women, and included several poetic passages in English; it starred
275:, its bizarre violence and vicious satire mark it as influenced by the dramaturgy of the private playhouses.
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In 2008, two major companies staged revivals of the play: Jonathan Moore directed a new production at the
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Along with influences from Seneca, this play is said to be very relevant to, or even about, Shakespeare's
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McMillin, Scott (1984). "Acting and Violence: The Revenger's Tragedy and Its Departures from Hamlet".
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Coddon, Karin S. (1994). ""For Show or Useless Property": Necrophilia and the Revenger's Tragedy".
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The differences between the two, however, stem from the topic of "moral disorientation" found in
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Ignored for many years, and viewed by some critics as the product of a cynical, embittered mind,
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Shakespeare's Borrowed Feathers: How Early Modern Playwrights Shaped the World's Greatest Writer
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Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and his Contemporaries
386:, and to contextual evidence suggesting Middleton's authorship (Loughrey and Taylor, xxvii). In
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Neill, Michael (1996). "Bastardy, counterfeiting, and misogyny in 'The Revenger's Tragedy.'".
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713:. HarperCollins Publishers, First HarperTorch paperback printing, December 2001. p. 7.
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as Vindice, and featuring a soundtrack performed by a live orchestra and DJs Differentgear.
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The play was entered in the Stationer's Register on 7 October 1607 and was performed by the
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is the word "now" which emphasizes the compression of time and obliteration of the past. In
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Neill, Michael (1996). "Bastardy, Counterfeiting, and Misogyny in The Revenger's Tragedy".
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758:. London: Methuen; New York, Barnes & Noble; p. 75 (Refers to several other authors.)
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directors and playgoers who appreciated its affinity with the temper of modern times.
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Ayres, Phillip J. "Marston's Antonio's Revenge: The Morality of the Revenging Hero".
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319:, rather than the more individualized characterization seen in their counterparts in
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and stylistic similarities to Middleton's other work, to the differences between
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belongs to the second generation of English revenge plays. It keeps the basic
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656:. The production toured in Italy in early 2019 and in Europe in early 2020.
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Lawrence J. Ross, ed. Lincoln: University of Nebraska Press, 1966, p. xxii
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325:, Gertrude and Ophelia. Due to the ironic and witty matter in which
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1073:"Polyglot Poetics: Transnational Early Modern Literature, part II"
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personify Revenge is seen as a Medieval characteristic. Although
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Lussurioso, the duke's son from an earlier marriage, and his heir
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Gratiana, a widow, and mother of Vindice, Hippolito, and Castiza
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1061:(3rd ed., pp. Xxvii-xxviii). London: Bloomsbury Methuen Drama.
1179:"Authorship Attribution in the Early Play-lists, 1656–1671."
70:, although this is a knotty issue that is far from settled."
793:(3rd ed., pp. Xxiii-xxiv). London: Bloomsbury Methuen Drama.
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by Edward Archer in 1656; the attribution was seconded by
496:, but it was also performed at court, on tour, or in the
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as The Duke. It was produced by Bard Entertainment Ltd.
534:), Nunn's production earned largely favourable reviews.
492:. The main house that the play was performed in was the
1143:. San Marino, CA: Huntington Library Publications, 1938
537:
In 1987, Di Trevis revived the play for the RSC at the
1141:
Comicall Satyre and Shakespeare's Troilus and Cressida
1124:"The Revenger's Tragedy (La tragedia del vendicatore)"
54:
which was performed in 1606, and published in 1607 by
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was apparently performed by an adult company at the
87:
Hippolito, Vindice's brother, sometimes called Carlo
1203:. Bloomington, Ind.: Indiana University Press, 1952
771:. Chicago: University of Chicago Press; pp. 139–50.
19:This article is about the play. For the film, see
62:, but "The consensus candidate for authorship of
1606:
1157:Shakespeare; the Dark Comedies to the Last Plays
456:to be perfectly clear morally. McMillin asserts
117:Antonio, a discontented lord at the Duke's court
1181:Edinburgh Bibliographical Society Transactions
1150:. Four Volumes. Oxford: Clarendon Press, 1923.
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518:Festival Theatre in 1965. The following year,
123:Piero, a discontented lord at the Duke's court
1307:
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162:The play is set in an unnamed Italian court.
1003:SEL: Studies in English Literature 1500–1900
900:SEL: Studies in English Literature 1500–1900
805:SEL: Studies in English Literature 1500–1900
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644:In 2018, a stage adaptation was directed by
945:. Manchester: Manchester University Press.
756:Jacobean Tragedy: the quest for moral order
1300:
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292:was rediscovered and often performed as a
849:. Johns Hopkins University Press: 71–88.
685:The Revenger’s Tragedy: A Critical Reader
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150:Nencio and Sordido, Lussurioso's servants
16:English-language Jacobean revenge tragedy
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989:Studies in English Literature: 1500–1900
591:. The film is set in a post-apocalyptic
105:Spurio, the duke's second son, a bastard
27:
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511:, was performed and published in 1618.
120:Antonio's wife, raped by Junior Brother
114:Junior Brother, the duchess's third son
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587:with a heavily adapted screenplay by
399:Thomas Middleton: The Collected Works
1201:Shakespeare and the Rival Traditions
595:(in the then future 2011) and stars
577:In 2002, a film adaptation entitled
556:made a loose French film adaptation
304:
111:Supervacuo, the duchess's middle son
229:design brought to English drama by
108:Ambitioso, the duchess's eldest son
99:The Duchess, the duke's second wife
13:
1576:Microcynicon: Six Snarling Satires
1206:Loughrey, Bryan and Taylor, Neil.
1133:
831:
14:
1656:
1246:online at the Oxford Text Archive
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978:. London: Routledge, 1997, p. 162
380:and Tourneur's other known play,
1635:British plays adapted into films
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1126:. Barbican Centre. 4 March 2020.
621:from May to June 2008, starring
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941:Freebury-Jones, Darren (2024).
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906:(2). Rice University: 397–398.
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388:Shakespeare's Borrowed Feathers
1461:More Dissemblers Besides Women
1429:No Wit, No Help Like a Woman's
1208:Five Plays of Thomas Middleton
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1349:A Trick to Catch the Old One
1079:. Folger Shakespeare Library
1071:Smith, Nigel (24 May 2018).
126:Nobles, allies of Lussurioso
58:. It was long attributed to
7:
1437:The Second Maiden's Tragedy
1271:public domain audiobook at
767:Dollimore, Jonathan (1984)
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505:Wraeck-gierigers treur-spel
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129:Lords, followers of Antonio
10:
1661:
1592:The World Tossed at Tennis
1445:A Chaste Maid in Cheapside
709:(1916–2014). "Chapter I".
619:Royal Exchange, Manchester
522:produced the play for the
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147:Dondolo, Castiza's servant
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1630:Plays by Thomas Middleton
1615:English Renaissance plays
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1517:Anything for a Quiet Life
1397:All's Well That Ends Well
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1210:. New York: Penguin, 1988
1159:. London: Routledge, 1971
687:. Bloomsbury, 2016, p. 4.
524:Royal Shakespeare Company
365:Edmund Kerchever Chambers
309:
199:
174:
1645:Fiction about poisonings
541:in Stratford-upon-Avon;
397:(Penguin, 1988), and in
373:The Viper and Her Brood.
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1357:A Mad World, My Masters
1222:The Elizabethan Theatre
1148:The Elizabethan Theatre
1037:The Revenger's Tragedy.
666:Illegitimacy in fiction
514:It was produced at the
47:is an English-language
1453:Wit at Several Weapons
1389:The Revenger's Tragedy
1268:The Revenger's Tragedy
1252:The Revenger's Tragedy
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791:The Revenger's Tragedy
754:Ribner, Irving (1962)
478:The Revenger's Tragedy
470:The Revenger's Tragedy
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410:The Revenger's Tragedy
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279:Analysis and criticism
269:The Revenger's Tragedy
223:The Revenger's Tragedy
64:The Revenger’s Tragedy
44:The Revenger's Tragedy
39:
37:The Revenger's Tragedy
1584:The Triumphs of Truth
1501:Hengist, King of Kent
1238:online at Archive.org
855:10.1353/elh.1994.0001
597:Christopher Eccleston
383:The Atheist's Tragedy
138:Spurio's two Servants
90:Castiza, their sister
31:
1169:Gibbons, Brian, ed.
1057:Gibbons, B. (2008).
789:Gibbons, B. (2008).
711:Nine Coaches Waiting
625:as Vindice, while a
589:Frank Cottrell Boyce
503:A Dutch adaptation,
395:Five Middleton Plays
258:Blackfriars Children
185:in flagrante delicto
153:Ambitioso's henchman
132:The Duke's gentlemen
1525:Measure for Measure
1365:A Yorkshire Tragedy
1162:Foakes, R. A., ed.
607:as The Duchess and
547:Atelier Sainte-Anne
509:Theodore Rodenburgh
498:Blackfriars Theatre
484:Performance history
1509:Women Beware Women
1413:The Bloody Banquet
1405:Your Five Gallants
1186:Griffiths, T, ed.
780:Dollimore, p. 149.
629:production at the
623:Stephen Tompkinson
299:Jonathan Dollimore
40:
1602:
1601:
1549:The Spanish Gypsy
1103:alanhoward.org.uk
1035:Tourneur, Cyril.
952:978-1-5261-7732-2
580:Revengers Tragedy
572:Bernadette Lafont
564:Geraldine Chaplin
412:is influenced by
305:Themes and motifs
21:Revengers Tragedy
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1528:(1621; revision)
1421:The Roaring Girl
1333:The Honest Whore
1310:Thomas Middleton
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650:Declan Donnellan
633:was directed by
627:National Theatre
583:was directed by
507:, translated by
369:Thomas Middleton
254:Thomas Middleton
68:Thomas Middleton
1660:
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1587:(pageant, 1613)
1563:
1557:A Game at Chess
1541:The Nice Valour
1373:Timon of Athens
1341:Michaelmas Term
1312:
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1262:
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1198:Harbage, Alfred
1192:Nick Hern Books
1136:
1134:Further reading
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631:Olivier Theatre
603:as Lussurioso,
554:Jacques Rivette
486:
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361:Francis Kirkman
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60:Cyril Tourneur
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1106:. Retrieved
1102:
1099:"Revenger's"
1093:
1081:. Retrieved
1076:
1066:
1058:
1053:
1048:Baker, p. 29
1044:
1036:
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991:12.2, p. 374
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601:Eddie Izzard
599:as Vindice,
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568:Kika Markham
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72:
63:
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36:
25:
1493:The Old Law
1381:The Puritan
1325:The Phoenix
1177:Greg, W. W.
888:Gibbons, ix
733:Campbell, 3
637:, starring
635:Melly Still
605:Diana Quick
543:Antony Sher
520:Trevor Nunn
338:Necrophilia
246:Elizabeth I
235:Elizabethan
1620:1606 plays
1609:Categories
1220:Revived."
1190:. London:
1108:22 October
1083:9 November
720:0380820765
672:References
490:King's Men
405:Influences
353:King's Men
347:Authorship
231:Thomas Kyd
135:Two Judges
78:Characters
56:George Eld
33:Title page
1496:(1618–19)
1477:The Witch
1472:(1615–16)
1469:The Widow
1308:Works by
920:0039-3657
871:170881312
863:1080-6547
742:Harbage,
593:Liverpool
552:In 1976,
516:Pitlochry
84:Vendice).
1416:(1608–9)
1400:(1607-9)
1376:(1605-6)
1328:(1603–4)
1273:LibriVox
1224:6 (1975)
660:See also
585:Alex Cox
434:Thyestes
418:Medieval
158:Synopsis
96:The Duke
49:Jacobean
652:at the
239:James I
227:Senecan
218:Context
191:Act III
1560:(1624)
1552:(1623)
1544:(1622)
1536:(1622)
1520:(1621)
1512:(1621)
1504:(1620)
1488:(1616)
1480:(1616)
1464:(1614)
1456:(1613)
1448:(1613)
1440:(1611)
1432:(1611)
1424:(1611)
1408:(1607)
1392:(1606)
1384:(1606)
1368:(1605)
1360:(1605)
1352:(1605)
1344:(1604)
1336:(1604)
1194:, 1996
1023:450528
1021:
949:
928:450955
926:
918:
869:
861:
825:450955
823:
744:passim
717:
570:, and
559:Noroît
532:Hamlet
466:Hamlet
443:Hamlet
414:Seneca
322:Hamlet
310:Gender
267:While
200:Act IV
175:Act II
1568:Other
1317:Plays
1019:JSTOR
924:JSTOR
867:S2CID
821:JSTOR
428:Medea
284:Genre
209:Act V
166:Act I
1257:IMDb
1110:2018
1085:2019
947:ISBN
916:ISSN
859:ISSN
715:ISBN
431:and
416:and
260:and
252:and
181:gold
1255:at
1011:doi
908:doi
851:doi
843:ELH
813:doi
648:'s
35:of
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879:^
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833:^
819:.
809:36
807:.
574:.
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472:.
1301:e
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445:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
