The Lover's Melancholy: The Broken Heart ; 'Tis Pity She's a Whore ; Perkin Warbeck

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Clarendon Press, 1995 - Drama - 378 pages
Ford wrote darkly about sexual and political passion, thwarted ambition, and incest. This selection also shows his ability to portray the poignancy of love as well as to write entertaining comedy and creat concincing roles for women. His Annabella, Hippolita, Pentea, Calantha, and KatherinrGordon rank among the most dramatically powerful female characters on the post-Shakespearean stage. Setting Ford's earliest surviving independently-written play, The Lover's Melancholy, alongside his three best-known works, this edition includes an introduction with sections on each play addressing gender issues, modern relevance, and staging possibilities. Under the General editorship ofMichael Cordner, of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation, supplemented by detailed annotation.

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About the author (1995)

Ford, the second son of a landed gentleman, did not begin his career as a playwright until 1621, with his collaboration with Dekker on The Witch of Edmonton. As a dramatist, Ford was extremely interested in psychology, especially abnormal psychology, and his best-known plays are studies in frustration and quiet suffering. His plots tend to be static and deterministic, with the characters unable to act against a crushing destiny. In The Broken Heart (1629), because all the crucial events are fixed before the play begins, there is a heavy emphasis on pathos. 'Tis Pity She's a Whore (1632) rewrites Romeo and Juliet with brother-sister incest and a violent revenge action. Perkin Warbeck (1633) is the last of the history plays. In it, the pretender to the throne of Henry VII hardly makes much pretense to establish his legitimate claims. Ford writes in an unusually plain, lyric style that resembles that of passionate and melancholy speech.

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