191:
upon him to let her deal with their problem. The Duke comes to Amidea's apartments, not realizing that
Sciarrha is hidden behind the arras of her bedchamber. Amidea tries to appeal to the Duke, but he is determined to have her; before he can force her to submit, Amidea draws a poniard, wounds her own arm, and threatens to kill herself. This forces to Duke to back down and turn penitent. Sciarrha emerges from hiding, admits he planned to kill the Duke, and tries to enlighten him as to Lorenzo's plotting. The Duke hides behind the tapestries to overhear Sciarrha's talk with Lorenzo. Lorenzo, however, is too crafty to fall into Sciarrha's trap, and feigns ignorance of the matter and pretends to call for the Duke's guards. The Duke decides to treat the matter as a misunderstanding, and has the two men reconcile.
195:
manipulates
Sciarrha's anger at Pisano's treatment of Amidea; Sciarrha kills Pisano on the morning of his marriage, and Lorenzo sets him up to murder the Duke as well. Sciarrha tells Amidea that she will have to yield to the Duke, if he does not kill her; playing for time, Amidea suggests that she will satisfy the Duke – and Sciarrha stabs her. Dying, she confesses that she was not serious in what she'd said.
187:. Because of his political ambition to supplant the Duke, Lorenzo sets up his own faction and begins two plots. One is to frustrate the fortunes of his rival Cosmo by impeding his marriage to the wealthy Oriana; the second is to bring down the Duke by embroiling him in a quarrel with the violent nobleman Sciarrha.
190:
At first, Lorenzo's schemes bear fruit. He defends himself successfully against accusations of conspiracy; and he encourages the Duke to take
Sciarrha's sister Amidea as his lover, and incites Sciarrha's ire in response. When Sciarrha tells his sister that he plans to kill the Duke, Amidea prevails
194:
Though one of his plots is frustrated, Lorenzo has better luck with his other scheme. Cosmo, fearful of
Lorenzo as the Duke's favorite, surrenders his interest in Oriana to another nobleman, Pisano; Pisano, in turn, breaks his engagement with Amidea and wins the consent of Oriana's mother. Lorenzo
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Sciarrha places his sister's body in her bed; the Duke enters, kisses the corpse, and realizes that she is dead. As he raises an alarm, Lorenzo and a confederate enter and stab the Duke. Sciarrha enters, and
Lorenzo and Sciarrha fight and kill each other.
143:, under its original title, but with the authorship credited to a "Mr. Rivers." The play was revived twice in the early 18th century, once in 1703–1704 and again in 1718. The latter version, printed anonymously in 1718 as
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is widely considered to represent the finest of
Shirley's efforts in the genre, and to be among the best tragedies of its period. "It is impossible to find a more successful drama of its type than Shirley's
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The Later
Jacobean and Caroline Dramatists: A Survey of Bibliography of Recent Studies in English Renaissance Drama
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104:). Shirley's source for the play's subplot was the account of the murder of Buondelmonte in
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In creating the character of
Sciarrha, Shirley may have been influenced by Foreste in Sir
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The protagonist of the play is
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The play's element of comic relief is supplied by the character
Depazzi.
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by the printer William Cooke, with a dedication by Shirley to
153:, and contains a number of alterations from the original. In
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James Shirley, Dramatist: A Biographical and Critical Study
171:, which was popular in both England and the United States.
420:(2nd ed.). Cambridge: Cambridge University Press.
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A History Of Early Eighteenth Century Drama, 1700-1750
371:Logan, Terence P.; Smith, Denzell S., eds. (1978).
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377:. Lincoln, NE: University of Nebraska Press.
323:. Lincoln, NE: University of Nebraska Press.
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127:saw a public performance on 10 October
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57:was licensed for performance by Sir
398:. New Haven: Yale University Press.
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425:Schelling, Felix Emmanuel (1908).
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403:Nason, Arthur Huntington (1915).
317:Carter, John Stuart, ed. (1965).
115:The play was revived during the
395:Pepys on the Restoration Stage
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456:Plays set in the 16th century
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409:. New York: Arthur H. Nason.
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431:. Boston: Houghton Mifflin.
428:Elizabethan Drama 1558–1642
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414:Nicoll, Allardyce (1929).
320:James Shirley: The Traitor
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161:produced an adaptation of
446:English Renaissance plays
183:, cousin and favorite of
338:Harbage, Alfred (1940).
304:, p. xii, note 15.
466:Plays by James Shirley
392:McAfee, Helen (1916).
344:Modern Language Review
242:Logan & Smith 1978
106:Le istoire fiorentine
71:Queen Henrietta's Men
181:Lorenzino de' Medici
79:Stationers' Register
63:Master of the Revels
276:, pp. xv–xvii.
159:Richard Lalor Sheil
151:Christopher Bullock
149:, is attributed to
135:. An adaptation of
110:Niccolò Machiavelli
69:, and was acted by
451:Plays set in Italy
292:, pp. xi–xii.
232:, pp. xi, xv.
28:era stage play, a
139:was published in
119:era, in November
98:The Cruel Brother
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302:Carter 1965
290:Carter 1965
286:Nicoll 1929
274:Carter 1965
258:McAfee 1916
230:Carter 1965
163:The Traitor
146:The Traitor
137:The Traitor
117:Restoration
65:, on 4 May
55:The Traitor
44:The Traitor
32:written by
21:The Traitor
461:1631 plays
440:Categories
254:Nason 1915
206:References
125:Charles II
175:Synopsis
26:Caroline
364:3716627
311:Sources
165:called
123:. King
73:at the
49:Traitor
30:tragedy
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168:Evadne
61:, the
360:JSTOR
24:is a
379:ISBN
325:ISBN
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