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Thomas Middleton (18 April 1580 – 1627) was an English Jacobean playwright and poet. Middleton stands with John Fletcher and Ben Jonson as among the most successful and prolific of playwrights who wrote their best plays during the Jacobean period. He was one of the few Renaissance dramatists to achieve equal success in comedy and tragedy. Also a prolific writer of masques and pageants, he remains one of the most noteworthy and distinctive of Jacobean dramatists. Middleton was born in London and baptized on 18 April 1580. He was the son of a bricklayer who had raised himself to the status of a gentleman and who, interestingly, owned property adjoining the Curtain theatre in Shoreditch. Middleton was just five when his father died and his mother's subsequent remarriage dissolved into a fifteen year battle over the inheritance of Thomas and his younger sister: an experience which must surely have informed and perhaps even incited his repeated satirizing of the legal profession. Middleton attended Queen’s College, Oxford, matriculating in 1598, although he did not graduate. Before he left Oxford (sometime in 1600 or 1601), he wrote and published three long poems in popular Elizabethan styles; none appears to have been especially successful, and one, his book of satires, ran afoul of the Anglican Church's ban on verse satire and was burned. Nevertheless, his literary career was launched. In the early 1600s, Middleton made a living writing topical pamphlets, including one — Penniless Parliament of Threadbare Poets — that enjoyed many reprintings as well as becoming the subject of a Parliamentary inquiry. At the same time, records in the diary of Philip Henslowe show that Middleton was writing for the Admiral's Men. Unlike Shakespeare, Middleton remained a free agent, able to write for whichever company hired him. His early dramatic career was marked by controversy. His friendship with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the War of the Theatres. The grudge with Jonson continued as late as 1626, when Jonson's play The Staple of News indulges a slur on Middleton's great success, A Game at Chess. It has been argued that Middleton's Inner Temple Masque (1619) sneers at Jonson (then absent in Scotland) as a "silenced bricklayer." In 1603, Middleton married. The same year, an outbreak of plague forced the closing of the theatres in London, and James I assumed the English throne. These events marked the beginning of Middleton's greatest period as a playwright. Having passed the time during the plague composing prose pamphlets (including a continuation of Thomas Nashe's Pierce Penniless), he returned to drama with great energy, producing close to a score of plays for several companies and in several genres, most notably city comedy and revenge tragedy. He continued his collaborations with Dekker, and the two produced The Roaring Girl, a biography of contemporary thief Mary Frith. In the 1610s, Middleton began his fruitful collaboration with the actor William Rowley, producing Wit at Several Weapons and A Fair Quarrel; working alone he produced his comic masterpiece, A Chaste Maid in Cheapside, in 1613. His own plays from this decade reveal a somewhat mellowed temper; certainly there is no comedy among them with the satiric depth of Michaelmas Term and no tragedy as bloodthirsty as The Revenger's Tragedy. Middleton was also branching out into other dramatic endeavors; he was apparently called on to help revise Macbeth and Measure for Measure, and at the same time he was increasingly involved with civic pageants. This last connection was made official when, in 1620, he was appointed City Chronologer of the City of London. He held this post until his death in 1627, at which time it was passed to Jonson. Middleton's official duties did not interrupt his dramatic writings; the 1620s saw the production of his and Rowley's tragedy The Changeling, and several tragicomedies. In 1624, he reached a pinnacle of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. The play used the conceit of a chess game to present and satirize the recent intrigues surrounding the Spanish Match. Though Middleton's approach was strongly patriotic, the Privy Council shut down the play after nine performances on the complaint of the Spanish ambassador. Middleton faced an unknown, but likely frightening, degree of punishment. Since no play later than A Game at Chess is recorded, it has been hypothesized that his punishment included a ban on writing for the stage. Middleton
died at his home in Newington
Butts in 1627. Middleton
wrote in many genres, including tragedy, history and city
comedy. His best-known plays are the tragedies The
Changeling (written
with William
Rowley) and Women
Beware
Women, and the cynically satirical city comedy A
Chaste
Maid in Cheapside. Although earlier editions of The
Revenger's
Tragedy attribute
the
play to Cyril
Tourneur, or refused to arbitrate
between Middleton and Tourneur, since the massive and
widely acclaimed statistical studies by David Lake and MacDonald P. Jackson, Middleton's authorship has
not been seriously contested, and no scholar has mounted a new defense
of the discredited Tourneur attribution. The Oxford Middleton and
its companion piece, Thomas
Middleton
and Early Modern Textual Culture, offer the most
extensive and decisive evidence to date not only for Middleton's
authorship of The
Revenger's
Tragedy, but also for his collaboration with
Shakespeare on Timon
of
Athens and
his adaptation and revision of Shakespeare's Macbeth and Measure
for
Measure. However,
the evidence for Middleton's supposed authorship of act 1.2 is
extraordinarily weak, for example, the presence of words such as
'has', 'whilst' and 'between', which are found throughout Shakespeare's
later plays such as "Anthony and Cleopatra". Their presence is due to
the rapid change in the English language between 1580 - 1610. The claims
for Middleton's hand in the plays of Shakespeare probably have more to
do with the desire to enhance the importance (i.e., sales) of editions
of Middleton's plays than with any real connection between Middleton
and "Measure for Measure". Middleton's
work
is diverse even by the standards of his age. He did not have the
kind of official relationship with a particular company that
Shakespeare or Fletcher had; instead, he appears to have written on a freelance basis for any number of
companies. Particularly in the early years of his career, this freedom
led to a great diversity in his output, which ranges from the
"snarling" satire of Michaelmas
Term (performed by
the Children
of
Paul's) to the bleak intrigues of The
Revenger's Tragedy (performed by the King's
Men), assuming he is the author of the latter. Also contributing to
the variety of the works is the scope of Middleton's career. If his
early work was informed by the flourishing of satire in the
late-Elizabethan period. His
maturity was influenced by the ascendancy of Fletcherian tragicomedy.
If
many of these plays have been judged less compelling than his
earlier work, his later work, in which satiric fury is tempered and
broadened, also includes three of his acknowledged masterpieces. A Chaste Maid in
Cheapside, produced by the Lady
Elizabeth's
Men, skillfully combines Middleton's typically cutting
presentation of London life with an expansive view of the power of love
to effect reconciliation. The
Changeling, a late tragedy, returns Middleton to an Italianate
setting like that in The
Revenger's
Tragedy; here, however, the central characters are more
fully drawn and more compelling as individuals, again, assuming he wrote The
Revenger's
Tragedy. Similar changes may be seen
in Women Beware Women. Middleton's
plays
are characterized by their cynicism about the human race, a
cynicism that is often very funny. True heroes are a rarity in
Middleton; in his plays, almost every character is selfish, greedy, and
self-absorbed. This quality is best observed in the A Chaste Maid in
Cheapside, a panoramic view of a London populated entirely by
sinners, in which no social rank goes unsatirized. It can also be seen
in the tragedies Women
Beware
Women and The Revenger's Tragedy,
in
which enjoyably amoral Italian courtiers endlessly plot against each
other, resulting in a climactic bloodbath. When Middleton does portray
good people, the characters have very small roles, and are flawless to
perfection. Thanks to a theological pamphlet attributed to him,
Middleton is thought by some to have been a strong believer in Calvinism,
among
the dominant strains in the theology of the English church of his time, which rigidly divides humanity into the damned and the elect,
which focuses on human
sinfulness and inadequacy more than
in the other denominations of Christianity. Middleton's
work
has long been praised by literary critics, among them Algernon
Charles
Swinburne and T.S.
Eliot. The latter thought Middleton was second only to
Shakespeare. In his own time, he was thought talented enough to revise
Shakespeare's Macbeth and Measure
for
Measure. Middleton's
plays
have been staged throughout the twentieth century and into the
twenty-first, each decade offering more productions than the last. Even
less familiar works have been staged: A
Fair
Quarrel was
performed at the National
Theatre, and The Old
Law has
been performed by the Royal
Shakespeare
Company. The
Changeling has
been adapted for film several times, and the tragedy Women
Beware
Women remains
a stage favourite. The
Revenger's
Tragedy was
adapted into Alex
Cox's film Revengers Tragedy, the opening credits of which attribute the play's
authorship to Middleton. |