95-471: The White Devil (full original title: The White Divel; or, The Tragedy of Paulo Giordano Ursini, Duke of Brachiano. With The Life and Death of Vittoria Corombona the famous Venetian Curtizan ) is a tragedy by English playwright John Webster . According to Webster's own preface to the 1612 Quarto Edition, "To the Reader" , the play's first performance in that year was a notorious failure; he complained that
190-401: A character flaw , or as a mistake (since the original Greek etymology traces back to hamartanein , a sporting term that refers to an archer or spear -thrower missing his target). According to Aristotle, "The misfortune is brought about not by [general] vice or depravity, but by some [particular] error or frailty." The reversal is the inevitable but unforeseen result of some action taken by
285-451: A Dream , The Handmaid's Tale . Defining tragedy is no simple matter, and there are many definitions, some of which are incompatible with each other. Oscar Mandel, in A Definition of Tragedy (1961), contrasted two essentially different means of arriving at a definition. First is what he calls the derivative way, in which the tragedy is thought to be an expression of an ordering of the world; "instead of asking what tragedy expresses,
380-747: A Good Play , a tragicomedy by Thomas Dekker . Webster's play failed at its debut. In the prefatory epistle to the quarto, Webster praised the actors, mentioning Richard Perkins ; but complained of the winter weather and above all of the audience, whose intellect he compared to that of donkeys. The first successful modern production was that of the Marlowe Society (ADC Theatre, Cambridge, March 1920), with music by C. Armstrong Gibbs and with Eric Maschwitz as Vittoria. The Society specialised in Elizabethan and Jacobean revivals in uncut texts performed with their original economy and rapidity, and with
475-405: A deed that is important and complete, and of [a certain] magnitude, by means of language enriched [with ornaments], each used separately in the different parts [of the play]: it is enacted, not [merely] recited, and through pity and fear it effects relief ( catharsis ) to such [and similar] emotions. There is some dissent to the dithyrambic origins of tragedy, mostly based on the differences between
570-495: A flaky veneer of honour and respectability." The production featured Patrick Kennedy as Flamineo, Anna Maxwell Martin as Vittoria, Frances de la Tour as Cornelia, Shaun Dingwall as Brachiano, Peter Wright as Francisco, Sean Baker as Monticelso and Harry Myers as Ludovico. On 26 January 2017 a run started at the Sam Wanamaker Playhouse , London (a venue embodying the features of a typical theatre from
665-571: A form that developed in 18th-century Europe. It was a fruit of the Enlightenment and the emergence of the bourgeois class and its ideals. It is characterised by the fact that its protagonists are ordinary citizens. The first true bourgeois tragedy was an English play, George Lillo 's The London Merchant; or, the History of George Barnwell , which was first performed in 1731. Usually, Gotthold Ephraim Lessing 's play Miss Sara Sampson , which
760-539: A license granted to the company in 1609 (though Pallant is misnamed "Richard"). Richard Perkins would develop into the company's leading actor, and acquire a reputation as a major tragedian. John Duke had come to Worcester's from the Lord Chamberlain's Men , along with Christopher Beeston, in 1602. Little is known of Robert Beeston, though the common name suggests he was a relative of Christopher. (Pairs of relatives were not uncommon in acting troupes in this era:
855-745: A love letter to Vittoria, intentionally allowing it to fall into the hands of Brachiano, in order to fuel his jealousy. Though at first his plan seems to work, Vittoria manages to convince Brachiano that she is faithful and the two elope. Cardinal Monticelso is elected Pope and as his first act he excommunicates Vittoria and Brachiano, who have fled Rome. Vittoria and Brachiano, now married, hold court in Padua. Three mysterious strangers have arrived to enter Brachiano's service. These are Francisco, disguised as Mulinassar (a Moor), Lodovico and Gasparo (disguised as Capuchin monks), all conspiring to avenge Isabella's death. They begin their revenge by poisoning Brachiano. As he
950-420: A major legal dispute: Thomas Greene's widow, remarried as Susan Baskervile , sued for moneys owed her through her late husband's share in the troupe and loans she had extended over the years. The outcome of the so-called Baskerville or Worth/Baskerville suit was that the actors lost and the company was forced to dissolve in 1623. Some members moved on to other troupes; Richard Perkins, for example, would acquire
1045-643: A rowdy audience. [For more on their theatre and its audience, see: Swetnam the Woman-Hater .] Yet their style of drama had some surprising aspects. They were creative in terms of special effects: consider these stage directions from Heywood's The Silver Age , written for and acted by the company — In 1617 the company moved to the Cockpit Theatre , in the increasingly fashionable Drury Lane . This final move, which brought significantly higher admission prices, engendered indignation among their audience:
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#17327728160801140-557: A secretary to Brachiano, has been scheming to bring his sister and the Duke together in the hope of advancing his career, much to the dismay of their mother, Cornelia. The plan is foiled by the arrival of Brachiano's wife Isabella, escorted by her brother and Cardinal Monticelso. They are both outraged by the rumours of Brachiano's infidelity and set out to make the affair public; before that happens Brachiano and Flamineo arrange to have Camillo (Vittoria's husband) and Isabella murdered. Vittoria
1235-465: A successor of the ancient dramatists. For much of the 17th century, Pierre Corneille , who made his mark on the world of tragedy with plays like Medée (1635) and Le Cid (1636), was the most successful writer of French tragedies. Corneille's tragedies were strangely un-tragic (his first version of Le Cid was even listed as a tragicomedy), for they had happy endings. In his theoretical works on theatre, Corneille redefined both comedy and tragedy around
1330-409: A tight set of passionate and duty-bound conflicts between a small group of noble characters, and concentrated on these characters' double-binds and the geometry of their unfulfilled desires and hatreds. Racine's poetic skill was in the representation of pathos and amorous passion (like Phèdre 's love for her stepson) and his impact was such that emotional crisis would be the dominant mode of tragedy to
1425-441: A time when a goat was either the prize in a competition of choral dancing or was what a chorus danced around prior to the animal's ritual sacrifice . In another view on the etymology, Athenaeus of Naucratis (2nd–3rd century CE) says that the original form of the word was trygodia from trygos (grape harvest) and ode (song), because those events were first introduced during grape harvest. Writing in 335 BCE (long after
1520-416: A triple suicide by shooting him, then themselves. Vittoria and Zanche shoot Flamineo and, thinking him dead, exult in his death and their escape. Much to their surprise, Flamineo rises from the 'dead' and reveals to them the pistols were not loaded. While trying to exact his own revenge on Vittoria, Lodovico and Gasparo then enter the scene and complete their revenge by killing her. Giovanni and officers come to
1615-491: Is abundant evidence for tragoidia understood as "song for the prize goat". The best-known evidence is Horace, Ars poetica 220-24 ("he who with a tragic song competed for a mere goat"); the earliest is the Parian Marble, a chronicle inscribed about 264/63 BCE, which records, under a date between 538 and 528 BCE: "Thespis is the poet ... first produced ... and as prize was established the billy goat" (FrGHist 239A, epoch 43);
1710-542: Is characterised by seriousness and involves a great person who experiences a reversal of fortune ( Peripeteia ). Aristotle's definition can include a change of fortune from bad to good as in the Eumenides , but he says that the change from good to bad as in Oedipus Rex is preferable because this induces pity and fear within the spectators. Tragedy results in a catharsis (emotional cleansing) or healing for
1805-518: Is doubly unique among the extant ancient dramas. Athenian tragedies were performed in late March/early April at an annual state religious festival in honor of Dionysus. The presentations took the form of a contest between three playwrights, who presented their works on three successive days. Each playwright offered a tetralogy consisting of three tragedies and a concluding comic piece called a satyr play . The four plays sometimes featured linked stories. Only one complete trilogy of tragedies has survived,
1900-472: Is dying, Lodovico and Gasparo reveal themselves to him. Next, Zanche, Vittoria's Moorish maid, who has fallen in love with her supposed countryman Mulinassar, reveals to him the murders of Isabella and Camillo and Flamineo's part in them. Flamineo is banished from court for the murder of his brother Marcello by Brachiano's son Giovanni, the new Duke, and sensing that his crimes are catching up with him he goes to see Vittoria. He tries to persuade her and Zanche to
1995-594: Is explained by his bent of mind or imagination which was 'so encompassing, so receptive to the plurality of diverse orders of experience.' When compared to the drama of Greek antiquity and French classicism Shakespeare's forms are 'richer but hybrid'. Numerous books and plays continue to be written in the tradition of tragedy to this day examples include Froth on the Daydream , The Road , The Fault in Our Stars , Fat City , Rabbit Hole , Requiem for
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#17327728160802090-509: Is put on trial for the murder of her husband and although there is no real evidence against her, she is condemned by the Cardinal to imprisonment in a convent for penitent whores. Flamineo pretends madness to protect himself from awkward suggestions. The banished Count Lodovico is pardoned and returns to Rome; confessing he had been secretly in love with Isabella, he vows to avenge her death. Isabella's brother Francisco also plots revenge. He pens
2185-591: Is the most common form of tragedy adapted into modern day television programs , books , films , theatrical plays , etc. Newly dealt with themes that sprang forth from the Domestic tragedy movement include: wrongful convictions and executions, poverty, starvation, addiction , alcoholism , debt, structural abuse , child abuse , crime , domestic violence , social shunning , depression , and loneliness. Classical Domestic tragedies include: Contemporary with Shakespeare, an entirely different approach to facilitating
2280-474: The Oresteia of Aeschylus. The Greek theatre was in the open air, on the side of a hill, and performances of a trilogy and satyr play probably lasted most of the day. Performances were apparently open to all citizens, including women, but evidence is scant. The theatre of Dionysus at Athens probably held around 12,000 people. All of the choral parts were sung (to the accompaniment of an aulos ) and some of
2375-457: The ekkyklêma as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects for it to have meaning and emotional resonance. A prime example of
2470-508: The Golden Age of 5th-century Athenian tragedy), Aristotle provides the earliest surviving explanation for the origin of the dramatic art form in his Poetics , in which he argues that tragedy developed from the improvisations of the leader of choral dithyrambs ( hymns sung and danced in praise of Dionysos , the god of wine and fertility): Anyway, arising from an improvisatory beginning (both tragedy and comedy—tragedy from
2565-575: The Latin verse tragedy Eccerinis , which uses the story of the tyrant Ezzelino III da Romano to highlight the danger to Padua posed by Cangrande della Scala of Verona . It was the first secular tragedy written since Roman times, and may be considered the first Italian tragedy identifiable as a Renaissance work. The earliest tragedies to employ purely classical themes are the Achilles written before 1390 by Antonio Loschi of Vicenza (c.1365–1441) and
2660-990: The Obie Award for Distinguished Performance (Frank Langella). In November 1969, the National Theatre at the Old Vic in London, performed the play in a production by Frank Dunlop (who went on to found the Young Vic). The cast was largely drawn from the company. Geraldine McEwan played Vittoria, Edward Woodward Flamineo, Edward Petherbridge Lodovico, Benjamin Whitrow Camillo, Derek Godfrey Bracciano, Jane Lapotaire Zanche, Hazel Hughes Cornelia, John Moffatt Monticelso, Jane Wenham Isabella, Anthony Nicholls Francisco and Edward Hardwicke Marcello. In later performances Derek Jacobi played Lodovico. It
2755-645: The Progne of the Venetian Gregorio Correr (1409–1464) which dates from 1428 to 1429. In 1515 Gian Giorgio Trissino (1478–1550) of Vicenza wrote his tragedy Sophonisba in the vernacular that would later be called Italian. Drawn from Livy 's account of Sophonisba , the Carthaginian princess who drank poison to avoid being taken by the Romans, it adheres closely to classical rules. It
2850-466: The Queen's Men — as were Queen Elizabeth's Men and Queen Henrietta's Men , in theirs. The group was formed on the accession of James I in 1603, and named after its patron, James's wife Anne of Denmark . It was a combination of two previously-existing companies, Oxford's Men and Worcester's Men . Among the company's most important members were Christopher Beeston , its manager, and Thomas Heywood ,
2945-770: The Swan Theatre in Stratford-upon-Avon (later transferred to London to The Pit at The Barbican), directed by Gale Edwards with Richard McCabe as Flamineo, Philip Quast as Ludovico, Ray Fearon as Brachiano, Jane Gurnett as Vittoria, Stephen Boxer as Francisco and Philip Voss . The company returned to the play in 2014 with a production in the Swan Theatre in Stratford-upon-Avon , directed by Maria Aberg with David Sturzaker as Bracciano, Kirsty Bushell as Vittoria, David Rintoul as Cardinal Monticelso, Simon Scardifield as Francisco and Joseph Arkley as Ludovico; in this production, Flamineo, Vittoria's brother,
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3040-428: The tragédie en musique is regarded as a distinct musical genre. Some later operatic composers have also shared Peri's aims: Richard Wagner 's concept of Gesamtkunstwerk ("integrated work of art"), for example, was intended as a return to the ideal of Greek tragedy in which all the arts were blended in service of the drama. Nietzsche , in his The Birth of Tragedy (1872) was to support Wagner in his claims to be
3135-467: The 17th century . Towards the close of the eighteenth century, having studied her predecessors, Joanna Baillie wanted to revolutionise theatre, believing that it could be used more effectively to affect people's lives. To this end she gave a new direction to tragedy, which she as 'the unveiling of the human mind under the dominion of those strong and fixed passions, which seemingly unprovoked by outward circumstances, will from small beginnings brood within
3230-551: The Bible, from contemporary events and from short story collections (Italian, French and Spanish). The Greek tragic authors ( Sophocles and Euripides ) would become increasingly important as models by the middle of the 17th century. Important models were also supplied by the Spanish Golden Age playwrights Pedro Calderón de la Barca , Tirso de Molina and Lope de Vega , many of whose works were translated and adapted for
3325-745: The Cockpit was set on fire during a Shrove Tuesday riot on 4 March 1617 and had to be rebuilt. The Queen's troupe seems to have remained at the Cockpit for only a relatively brief time; within a couple of years they were back at the Red Bull. The actors lost their patron at the death of Queen Anne in 1619; they continued on as the Company of the Revels, often known simply as the Red Bull Company after their theatre. Their final years were marked by
3420-510: The Duke fell desperately in love with her and arranged for the Cardinal's nephew to be killed in order that he might secretly marry Vittoria. Pope Gregory soon found out and ordered Vittoria and the Duke to part and even resorted to having Vittoria imprisoned in the Castel Sant'Angelo under the suspicion of having killed her husband. In 1585 a new pope was elected and amid the confusion of change Vittoria and Bracciano married and left Rome. In
3515-528: The French stage. Dutch Renaissance and Golden Age The common forms are the: In English, the most famous and most successful tragedies are those of William Shakespeare and his Elizabethan contemporaries. Shakespeare's tragedies include: A contemporary of Shakespeare, Christopher Marlowe , also wrote examples of tragedy in English, notably: John Webster (1580?–1635?), also wrote famous plays of
3610-600: The Greek versions in their long declamatory, narrative accounts of action, their obtrusive moralising, and their bombastic rhetoric. They dwell on detailed accounts of horrible deeds and contain long reflective soliloquies . Though the gods rarely appear in these plays, ghosts and witches abound. Senecan tragedies explore ideas of revenge , the occult, the supernatural, suicide, blood and gore. The Renaissance scholar Julius Caesar Scaliger (1484–1558), who knew both Latin and Greek, preferred Seneca to Euripides. Classical Greek drama
3705-465: The Greek world), and continued to be popular until the beginning of the Hellenistic period . No tragedies from the 6th century and only 32 of the more than a thousand that were performed in the 5th century have survived. We have complete texts extant by Aeschylus , Sophocles , and Euripides . Aeschylus' The Persians is recognized to be the earliest extant Greek tragedy, and as such it
3800-577: The actor-dramatist who wrote many of its plays, including The Rape of Lucrece (printed 1608 ) and The Golden Age (printed 1611 ). William Kempe finished his career with this company, though he died c. 1603. In 1604, ten members of the new-formed company were granted the sum of four and a half pounds each, to buy red cloth for their livery for 15 March coronation procession. The ten were Beeston, Heywood, Richard Perkins , Thomas Greene , John Duke , James Holt, Robert Beeston, Robert Lee, Robert Pallant, and Thomas Swinerton. The same ten men are listed in
3895-480: The actors' answers to the chorus were sung as well. The play as a whole was composed in various verse metres. All actors were male and wore masks. A Greek chorus danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang. Choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song"). Many ancient Greek tragedians employed
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3990-525: The approach of the enemy, when he might have been combated most successfully; and where the suffering him to pass may be considered as occasioning all the misery that ensues.' In 1851, the tragedy El Palacio de Medrano , written by Pablo J. Villaseñor, was first performed at the Teatro Principal in Guadalajara on June 10th, 1851. Bourgeois tragedy (German: Bürgerliches Trauerspiel) is
4085-426: The audience through their experience of these emotions in response to the suffering of the characters in the drama. According to Aristotle, "the structure of the best tragedy should not be simple but complex and one that represents incidents arousing fear and pity —for that is peculiar to this form of art." This reversal of fortune must be caused by the tragic hero's hamartia , which is often translated as either
4180-466: The audience; only comedy should depict middle-class people. Domestic tragedy breaks with Aristotle's precepts, taking as its subjects merchants or citizens whose lives have less consequence in the wider world. The advent of the domestic tragedy ushered in the first phase shift of the genre focusing less on the Aristotelian definition of the genre and more on the definition of tragedy on the scale of
4275-482: The breast, till all the better dispositions, all the fair gifts of nature are borne down before them'. This theory, she put into practice in her 'Series of Plays on the Passions' in three volumes (commencing in 1798) and in other dramatic works. Her method was to create a series of scenes and incidents intended to capture the audience's inquisitiveness and 'trace the progress of the passion, pointing out those stages in
4370-626: The brothers John and Laurence Dutton in Oxford's Men and Queen Elizabeth's Men in the 1580s; Anthony and Humphrey Jeffes in the Admiral's/Prince Henry's Men in the early 17th century. Robert Pallant , the son of the man in Queen Anne's, would play female roles for the King's Men c. 1620.) Thomas Greene was the company's major comedian; he was reputed to have once portrayed a baboon onstage. Greene
4465-467: The characteristics of Greek tragedy and the traditions that developed from that period. In the Foreword (1980) to a new edition of his book Steiner concluded that 'the dramas of Shakespeare are not a renascence of or a humanistic variant of the absolute tragic model. They are, rather, a rejection of this model in the light of tragi-comic and "realistic" criteria.' In part, this feature of Shakespeare's mind
4560-434: The clearest is Eustathius 1769.45: "They called those competing tragedians, clearly because of the song over the billy goat"... Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the theatrical culture of the city-state. Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE (from the end of which it began to spread throughout
4655-426: The company joined with the King's Men for Court performances of two Queen's company's plays, The Silver Age and The Rape of Lucrece . Queen Anne's Men played twice more at Court in the winter of 1613–14, three times in the following winter, and four times in 1615–16. They toured widely every summer throughout this period. The company acquired a reputation for playing relatively unsophisticated drama for
4750-416: The derivative definition tends to ask what expresses itself through tragedy". The second is the substantive way of defining tragedy, which starts with the work of art which is assumed to contain the ordering of the world. Substantive critics "are interested in the constituent elements of art, rather than its ontological sources". He recognizes four subclasses: a. "definition by formal elements" (for instance
4845-405: The drama, where tragedy is opposed to comedy i.e. melancholic stories. Although the utilization of key elements such as suffering, hamartia, morality, and spectacle ultimately ties this variety of tragedy to all the rest. This variant of tragedy noticeably had a larger number of stories that featured characters' downfalls being due to circumstances out of their control - a feature first established by
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#17327728160804940-475: The end of the century. Racine's two late plays ("Esther" and "Athalie") opened new doors to biblical subject matter and to the use of theatre in the education of young women. Racine also faced criticism for his irregularities: when his play, Bérénice , was criticised for not containing any deaths, Racine disputed the conventional view of tragedy. For more on French tragedy of the 16th and 17th centuries, see French Renaissance literature and French literature of
5035-518: The female roles played by men. "Anybody who enjoys hearing beautiful poetry beautifully spoken" wrote the editor of the Cambridge Review , "and tragic passion 'with dignity put on' should not miss this wonderful opportunity. What a magnificent play!" "After three hundred years it must console the poet in his Elysium to know that at last his play has been played with success before a 'full and understanding auditory'. We must confess that to us it
5130-460: The first of all modern tragedies is A Castro , by Portuguese poet and playwright António Ferreira , written around 1550 (but only published in 1587) in polymetric verse (most of it being blank hendecasyllables), dealing with the murder of Inês de Castro , one of the most dramatic episodes in Portuguese history. Although these three Italian plays are often cited, separately or together, as being
5225-420: The first regular tragedies in modern times, as well as the earliest substantial works to be written in blank hendecasyllables, they were apparently preceded by two other works in the vernacular: Pamfila or Filostrato e Panfila written in 1498 or 1508 by Antonio Cammelli (Antonio da Pistoia); and a Sophonisba by Galeotto del Carretto of 1502. From about 1500 printed copies, in the original languages, of
5320-877: The floor?" A London production in 1947 at the Duchess Theatre directed by Michael Benthall featured Hugh Griffith as Monticelso, Patrick Macnee as Hortensio/Spanish Ambassador, Claire Bloom as one of the Ladies of Brachiano's court, Margaret Rawlings as Vittoria and Andrew Cruickshank as the Duke of Florence. In 1965, an Off-Broadway production was staged at the Circle in the Square starring Frank Langella as Flamineo, Carrie Nye as Vittoria, Paul Stevens as Brachiano, Robert Burr as Francisco, Eric Berry as Monticelso and Christina Pickles as Cornelia. The production ran from 6 December 1965 to 17 April 1966 and won
5415-520: The following suppositions: Corneille continued to write plays through 1674 (mainly tragedies, but also something he called "heroic comedies") and many continued to be successes, although the "irregularities" of his theatrical methods were increasingly criticised (notably by François Hédelin, abbé d'Aubignac ) and the success of Jean Racine from the late 1660s signalled the end of his preeminence. Jean Racine 's tragedies—inspired by Greek myths, Euripides , Sophocles and Seneca —condensed their plot into
5510-544: The genre: Domestic tragedies are tragedies in which the tragic protagonists are ordinary middle-class or working-class individuals. This subgenre contrasts with classical and Neoclassical tragedy, in which the protagonists are of kingly or aristocratic rank and their downfall is an affair of state as well as a personal matter. The Ancient Greek theorist Aristotle had argued that tragedy should concern only great individuals with great minds and souls, because their catastrophic downfall would be more emotionally powerful to
5605-453: The hero. It is also a misconception that this reversal can be brought about by a higher power (e.g. the law, the gods, fate , or society), but if a character's downfall is brought about by an external cause, Aristotle describes this as a misadventure and not a tragedy. In addition, the tragic hero may achieve some revelation or recognition ( anagnorisis —"knowing again" or "knowing back" or "knowing throughout") about human fate, destiny, and
5700-438: The intention of tragedy is to invoke an accompanying catharsis , or a "pain [that] awakens pleasure,” for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization . That tradition has been multiple and discontinuous, yet
5795-426: The later Roman tragedies of Seneca ; through its singular articulations in the works of Shakespeare , Lope de Vega , Jean Racine , and Friedrich Schiller to the more recent naturalistic tragedy of Henrik Ibsen and August Strindberg ; Natyaguru Nurul Momen 's Nemesis ' tragic vengeance & Samuel Beckett 's modernist meditations on death, loss and suffering; Heiner Müller postmodernist reworkings of
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#17327728160805890-685: The later years of the republic and by means of the Roman Empire (27 BCE-476 CE), theatre spread west across Europe, around the Mediterranean and even reached Britain. While Greek tragedy continued to be performed throughout the Roman period, the year 240 BCE marks the beginning of regular Roman drama . Livius Andronicus began to write Roman tragedies, thus creating some of the first important works of Roman literature . Five years later, Gnaeus Naevius also began to write tragedies (though he
5985-469: The leaders of the dithyramb, and comedy from the leaders of the phallic processions which even now continue as a custom in many of our cities), [tragedy] grew little by little, as [the poets] developed whatever [new part] of it had appeared; and, passing through many changes, tragedy came to a halt, since it had attained its own nature. In the same work, Aristotle attempts to provide a scholastic definition of what tragedy is: Tragedy is, then, an enactment of
6080-562: The most staggering performance they had ever known?" In 1925 the Renaissance Theatre mounted a heavily cut version featuring Viola Tree and Cedric Hardwicke . The production was not well reviewed, perhaps mainly because of a failure to understand the special requirements of Renaissance dramaturgy . Webster scholar F. L. Lucas asked in the New Statesman , "Who can hope to speak passionate verse lying on one elbow on
6175-501: The period of the original seventeenth century production). The Red Bull Theatre in New York performed The White Devil in 2019. To date, this play has never been filmed or televised. Tragedy Tragedy (from the ‹See Tfd› Greek : τραγῳδία , tragōidia ) is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. Traditionally,
6270-566: The play the Pope is misnamed Paul IV (he was in fact the former-Cardinal Montalto Sixtus V , Paul IV having died in 1559). Eight months later the Duke died and the Medici family, wishing to protect their family interests, challenged his will, which placed Vittoria to be in charge of his fortune. When Vittoria refused to co-operate, according to the play, the Medicis arranged for her to be killed. She
6365-546: The play was acted in the dead of winter before an unreceptive audience. The play's complexity, sophistication, and satire made it a poor fit with the repertory of Queen Anne's Men at the Red Bull Theatre , where it was first performed. It was successfully revived in 1630 by Queen Henrietta's Men at the Cockpit Theatre and published again in 1631. The story is loosely based on an event in Italy thirty years prior to
6460-531: The play's composition: the murder of Vittoria Accoramboni in Padua on 22 December 1585. Webster's dramatisation of this event turned Italian corruption into a vehicle for depicting "the political and moral state of England in his own day", particularly the corruption in the royal court. The play explores the differences between the reality of people and the way they depict themselves as good, "white", or pure. Webster based The White Devil on newsletter versions of
6555-436: The rebirth of tragedy in the contemporary theatre, most notably in his volume Arguments for a Theatre . "You emerge from tragedy equipped against lies. After the musical, you're anybody's fool," he insists. Critics such as George Steiner have even been prepared to argue that tragedy may no longer exist in comparison with its former manifestations in classical antiquity. In The Death of Tragedy (1961) George Steiner outlined
6650-534: The rebirth of tragedy was taken in Italy. Jacopo Peri , in the preface to his Euridice refers to "the ancient Greeks and Romans (who in the opinion of many sang their staged tragedies throughout in representing them on stage)." The attempts of Peri and his contemporaries to recreate ancient tragedy gave rise to the new Italian musical genre of opera. In France, tragic operatic works from the time of Lully to about that of Gluck were not called opera, but tragédie en musique ("tragedy in music") or some similar name;
6745-501: The same play at the Red Bull Theatre in Clerkenwell that same year, becoming the first company to play there. John Webster 's tragedy The White Devil received a disastrous premiere at the Red Bull on an overcast winter day in 1612 . Despite their royal patronage, Queen Anne's Men appear to have performed only sporadically at Court in their first decade – something less than once a year on average. On 12 and 13 January 1612,
6840-463: The scene and the play ends with Giovanni learning of his uncle's participation in the bloody acts and sending Lodovico off to torture. The play was written for and first performed by Queen Anne's Men at the Red Bull Theatre in Clerkenwell in the early months of 1612. The troupe usually offered simpler and more optimistic plays of the type written by their dramatist, Thomas Heywood . The play staged before Webster's seems to have been If This Be Not
6935-438: The shapes of their choruses and styles of dancing. A common descent from pre- Hellenic fertility and burial rites has been suggested. Friedrich Nietzsche discussed the origins of Greek tragedy in his early book The Birth of Tragedy (1872). Here, he suggests the name originates in the use of a chorus of goat-like satyrs in the original dithyrambs from which the tragic genre developed. Scott Scullion writes: There
7030-435: The story of the killing of Vittoria Accoramboni, while structuring the story on the basis of Democritean and Epicurean philosophy. The newsletters detailed how Vittoria, of a proud but poor family, married the nephew of Cardinal Montalto, who later became pope Pope Sixtus V . In 1580, she met Paolo Giordano Orsini, Duke of Bracciano, previously married to Isabella Medici of the famous Medici family. Upon meeting Vittoria,
7125-425: The supposed "three unities"); b. "definition by situation" (where one defines tragedy for instance as "exhibiting the fall of a good man"); c. "definition by ethical direction" (where the critic is concerned with the meaning, with the "intellectual and moral effect); and d. "definition by emotional effect" (and he cites Aristotle's "requirement of pity and fear"). Aristotle wrote in his work Poetics that tragedy
7220-576: The term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans , in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it. From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a fraction of the work of Aeschylus , Sophocles and Euripides , as well as many fragments from other poets, and
7315-812: The traditional division between comedy and tragedy in an anti- or a- generic deterritorialisation from the mid-19th century onwards. Both Bertolt Brecht and Augusto Boal define their epic theatre projects ( non-Aristotelian drama and Theatre of the Oppressed , respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation. The word "tragedy" appears to have been used to describe different phenomena at different times. It derives from Classical Greek τραγῳδία , contracted from trag(o)-aoidiā = "goat song", which comes from tragos = "he-goat" and aeidein = "to sing" ( cf. "ode"). Scholars suspect this may be traced to
7410-410: The tragedies of Shakespeare - and less due to their own personal flaws. This variant of tragedy has led to the evolution and development of tragedies of the modern era especially those past the mid-1800s such as the works of Arthur Miller , Eugene O'Neill and Henrik Ibsen . This variant of tragedy is especially popular in the modern age due to its characters being more relatable to mass audiences and
7505-412: The tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers —which includes Plato , Aristotle , Saint Augustine , Voltaire , Hume , Diderot , Hegel , Schopenhauer , Kierkegaard , Nietzsche , Freud , Benjamin , Camus , Lacan , and Deleuze —have analysed, speculated upon, and criticised the genre. In
7600-402: The use of the ekkyklêma is after the murder of Agamemnon in the first play of Aeschylus' Oresteia , when the king's butchered body is wheeled out in a grand display for all to see. Variations on the ekkyklêma are used in tragedies and other forms to this day, as writers still find it a useful and often powerful device for showing the consequences of extreme human actions. Another such device
7695-421: The wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general (where the tragic divides against epic and lyric ) or at the scale of the drama (where tragedy is opposed to comedy ). In the modern era, tragedy has also been defined against drama, melodrama , the tragicomic , and epic theatre . Drama, in the narrow sense, cuts across
7790-479: The will of the gods. Aristotle terms this sort of recognition "a change from ignorance to awareness of a bond of love or hate." In Poetics , Aristotle gave the following definition in ancient Greek of the word "tragedy" (τραγῳδία): Queen Anne%27s Men Queen Anne's Men was a playing company , or troupe of actors, in Jacobean-era London. In their own era they were known colloquially as
7885-649: The works of Sophocles , Seneca , and Euripides , as well as comedic writers such as Aristophanes , Terence and Plautus , were available in Europe and the next forty years saw humanists and poets translating and adapting their tragedies. In the 1540s, the European university setting (and especially, from 1553 on, the Jesuit colleges) became host to a Neo-Latin theatre (in Latin) written by scholars. The influence of Seneca
7980-530: Was a crane, the mechane , which served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase " deus ex machina " ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event. Following the expansion of the Roman Republic (509–27 BCE) into several Greek territories between 270 and 240 BCE, Rome encountered Greek tragedy . From
8075-520: Was based on Euripides ' Hippolytus . Historians do not know who wrote the only extant example of the fabula praetexta (tragedies based on Roman subjects), Octavia , but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy. Seneca's tragedies rework those of all three of the Athenian tragic playwrights whose work has survived. Probably meant to be recited at elite gatherings, they differ from
8170-500: Was designed by Piero Gherardi as a crumbling wall out of which characters emerged like crawling insects in fantastic costumes of great extravagance. William Hobbs staged the fights and played the Spanish Ambassador. Mime work was by Claude Chagrin. The assistant director was Roland Joffe (since then the director of "The Killing Fields" and "The Mission"). The Royal Shakespeare Company performed The White Devil in 1996 at
8265-662: Was first produced in 1755, is said to be the earliest Bürgerliches Trauerspiel in Germany. In modernist literature , the definition of tragedy has become less precise. The most fundamental change has been the rejection of Aristotle's dictum that true tragedy can only depict those with power and high status. Arthur Miller 's essay "Tragedy and the Common Man" (1949) argues that tragedy may also depict ordinary people in domestic surroundings thus defining Domestic tragedies. British playwright Howard Barker has argued strenuously for
8360-644: Was largely forgotten in Western Europe from the Middle Ages to the beginning of the 16th century. Medieval theatre was dominated by mystery plays , morality plays , farces and miracle plays . In Italy, the models for tragedy in the later Middle Ages were Roman, particularly the works of Seneca, interest in which was reawakened by the Paduan Lovato de' Lovati (1241–1309). His pupil Albertino Mussato (1261–1329), also of Padua, in 1315 wrote
8455-587: Was more appreciated for his comedies). No complete early Roman tragedy survives, though it was highly regarded in its day; historians know of three other early tragic playwrights— Quintus Ennius , Marcus Pacuvius and Lucius Accius . From the time of the empire, the tragedies of two playwrights survive—one is an unknown author, while the other is the Stoic philosopher Seneca . Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra , for example,
8550-606: Was particularly strong in its humanist tragedy. His plays, with their ghosts, lyrical passages and rhetorical oratory, brought a concentration on rhetoric and language over dramatic action to many humanist tragedies. The most important sources for French tragic theatre in the Renaissance were the example of Seneca and the precepts of Horace and Aristotle (and contemporary commentaries by Julius Caesar Scaliger and Lodovico Castelvetro ), although plots were taken from classical authors such as Plutarch , Suetonius , etc., from
8645-563: Was played by a woman (Laura Elphinstone). On 1 March 1997, the BBC World Service broadcast an adaptation starring Anton Lesser and Helen Baxendale . On 15 August 2010 BBC Radio 3 broadcast a production adapted and directed by Marc Beeby which, according to the BBC Radio 3 web site, "sets the action in a murky underworld of the 1950s – a world that seeks to hide its shifting alliances, betrayals and sudden violence beneath
8740-600: Was so closely identified with his role as Bubble in a 1611 play that the play became indelibly renamed Greene's Tu Quoque . A host of other actors were in the company over its tenure. See Richard Baxter and William Robbins for examples. Queen Anne's Men originally performed at the Curtain Theatre — they acted The Travels of the Three English Brothers, by William Rowley , John Day , and George Wilkins , there in 1607 ; but they also acted
8835-745: Was soon followed by the Oreste and Rosmunda of Trissino's friend, the Florentine Giovanni di Bernardo Rucellai (1475–1525). Both were completed by early 1516 and are based on classical Greek models, Rosmunda on the Hecuba of Euripides , and Oreste on the Iphigenia in Tauris of the same author; like Sophonisba , they are in Italian and in blank (unrhymed) hendecasyllables . Another of
8930-461: Was stabbed to death in Padua by Ludovico Orsini, a relative of her second husband. Count Lodovico is banished from Rome for debauchery and murder; his friends, Gasparo and Antonelli promise to work for the repeal of his sentence. The Duke of Brachiano has conceived a violent passion for Vittoria Corombona, daughter of a noble but impoverished Venetian family, despite the fact they are both married to other people. Vittoria's brother Flamineo, employed as
9025-606: Was the ritual of an initiation to the mysteries of a play which we always believed to be great, but which we never realised was quite so wonderful". The production inspired the Cambridge scholar F. L. Lucas to edit the complete plays of Webster. "But in what exactly does the fascination of Webster consist?" he asked in the New Statesman . "What could make the Cambridge production of The White Devil in 1920 seem still, to at least two who saw it then without any preconceptions,
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