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This Jacobean tragic-comedy by Philip Massinger explores the cultural conflict between Christian Europe and Muslim North Africa experienced when the two began to travel and trade in the early modern period. The play is peopled with merchants and pirates and the somewhat convoluted plot involves conversions between both faiths, disguise, kidnap and clandestine marriage.
The play is one of many of the period exploring the tantalizing and sometimes threatening "other" world of other religions and cultures and as such is studied alongside more familiar plays such as Othello and The Merchant of Venice. Michael Neill explores the themes as well as the pure theatrical joy of this fast-paced play, putting it in its historical context as well as discussing how it resonates with modern audiences and readers today.
- Sales Rank: #6114991 in Books
- Brand: Brand: Methuen Drama
- Published on: 2010-05-17
- Released on: 2010-05-17
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .63" w x 5.50" l, .0 pounds
- Binding: Hardcover
- 258 pages
- Used Book in Good Condition
About the Author
Michael Neill is a Professor at the University of Auckland, New Zealand.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Exceptional
By Cardinal Finery
Fantastic play backed by first rate research. I'd recommend this edition to any theater aficionado, not just the Shakespeare set.
2 of 2 people found the following review helpful.
Poor play, brilliant edition
By Dr. Richard M. Price
This tragicomedy, written in 1623-4 and set in Tunis, is highly revealing of contemporary attitudes to the Turks and Islam. It juxtaposes the sudden turns and desperate courage produced both by falling in love and by religious conversion. If its attitude towards Islam is predictably hostile, it features a Jesuit who is wholly admirable and is the main agent in achieving the victory in the play of chastity and the Christian faith; this is surprising even in the context of the more tolerant attitude towards Catholics that was developing in England at this time. All this is marvellously brought out in the learned and hugely readable introduction by the editor. His footnote annotation is also exemplary. The play itself is a lively piece of theatre, full of dramatic twists and turns, which would, however, be more effective if they (and the characters) were more credible. Massinger had chosen a theme of huge potential, but all he aims at is entertainment. The playgoers of his time were duly amused; but for a modern reader the crudity of this treatment of Christianity versus Islam is hard to take.
1 of 1 people found the following review helpful.
Massinger's Turkish turn
By Jon Chambers
A real surprise this one. Those of you who've seen recent productions of Massinger will know how racy and how engaging a dramatist he was in comic and tragic genres. As Michael Neill observes, however, Massinger's qualities as a writer of tragi-comedy have not been so readily appreciated. But with the 'clash of civilisations' grabbing contemporary headlines, early modern attitudes to the Islamic world have become the focus of much interest.
Neill tells us that in the half century before Massinger's play appeared (in 1624), no less than 60 drama-texts featured Islamic subjects or settings. He also provides some staggering figures to help contextualise this renegade play: by 1589, for example, over half of the population of Algiers, on the Barbary coast of north Africa, comprised Christian renegades (ie those who had 'turned Turk' and sworn allegiance to Islam). By Massinger's time, attacks by Barbary pirates had reached British and Irish coasts, from which many captives were taken and sold into slavery. Fears surrounding the Islamic 'other' would have been as prevalent then as now.
Neill's skilful introduction alerts the reader to the way in which the playwright interweaves sexual and commercial themes, to characters' castration and feminisation anxieties, and to Massinger's sophisticated deployment of structural parallels. Less successful, arguably, is the editor's over-zealous commitment to the iambic pentameter. This footnote is typical of many: `By eliding Q's "it was" to "`twas" and stressing the first syllable of 'betrayed' it is possible to deliver the line as a more-or-less acceptable iambic pentameter.' Such advice underestimates the flexibility of Jacobean dramatic verse and will probably not be of much practical value to modern-day performers. Elsewhere, however, footnotes enrich understanding.
The Renegado has not been staged since the mid-C17, and this volume is an eloquent reminder that its revival is long overdue. Given the current climate, however, such a revival seems a long way off.
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