PENGUIN CLASSICS : THE DUCHESS OF MALFI THE WHITE DEVIL THE BROKEN HEART TIS PITY SHE S A WHORE PB B – JOHN FORD-JOHN WEBSTER-JANE KINGSLEY-SMITH

These four plays, written during the reigns of James I and Charles I, took revenge tragedy in dark and ambiguous new directions. In The Duchess of Malfi and The White Devil, John Webster explores the role of women and issues of power, sex and corruption in the Italian court, creating two unforgettable anti-heroines. In The Broken Heart, John Ford questions the value of emotional repression as his characters attempt to subdue their desires and hatreds in ancient Greece. Finally, Ford s masterpiece Tis Pity She s a Whore explores the taboo themes of incest and forbidden lust in a daring reworking of Romeo and Juliet. Jane Kingsley-Smith has edited the plays from the earliest quartos and added invaluable editorial material, including explanatory glosses and a new introduction that discusses how the playwrights used the theatre to explore issues around women, sex, power and violence. Together with the Penguin volume of Five Revenge Tragedies, edited by Emma Smith, this is the essential sourcebook for drama in the period. Revenge, hatred, villainy, incest, and murder upon murder are their constant themes … and they handle these horrors with little or no moral purpose, save that of exciting and amusing the audience … We should call him a madman who allowed his daughters or his servants to see such representations – Charles Kingsley JOHN WEBSTER was born in about 1578 in London. He studied law at the Middle Temple before embarking on a career in the theatre, collaborating on many plays with contemporary dramatists. But it was his two solo-authored tragedies, The White Devil (1612) and The Duchess of Malfi (1614) which sealed his reputation. In 1606 he married Sara Peniall, who was seven months pregnant, and they went on to have at least four children. He died in the 1630s. JOHN FORD was born in 1586 in Devon. His early career was wholly concerned with poetry and philosophical works, and it was not until the 1620s that he began collaborating on stage plays. I