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The Tragedy of Mariam (1613) is the first original play by a woman to be published in England, and its author is the first English woman writer to be memorialized in a biography, which is included with this edition of the play.
Mariam is a distinctive example of Renaissance drama that serves the desire of today's readers and scholars to know not merely how women were represented in the early modern period but also how they themselves perceived their own condition.
With this textually emended and fully annotated edition, the play will now be accessible to all readers. The accompanying biography of Cary further enriches our knowledge of both domestic and religious conflicts in the seventeenth century.
- Sales Rank: #1319138 in Books
- Published on: 1994-02-07
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .99" w x 6.04" l, 1.13 pounds
- Binding: Paperback
- 344 pages
From the Inside Flap
"This landmark edition . . . will be invaluable to scholars, teachers, and students."—Carol Thomas Neely, author of Broken Nuptials in Shakespeare's Plays
From the Back Cover
"This landmark edition . . . will be invaluable to scholars, teachers, and students."--Carol Thomas Neely, author of "Broken Nuptials in Shakespeare's Plays
About the Author
Barry Weller is Professor of English at the University of Utah and editor of the dramas in The Complete Poetical Works of Byron. Margaret W. Ferguson is Professor of English at the University of Colorado and author of Trials of Desire: Renaissance Defenses of Poetry (1983).
Most helpful customer reviews
12 of 13 people found the following review helpful.
A Woman's Othello
By Nizar Hermes
The particular importance of this book lies in the fact that it is the first edition to include the Tragedy of Mariam into its biographical context, by publishing the text with Elizabeth's Cary's biography written by one of her daughter. The editors include a very thorough introduction in which they strongly claim the richness and greatness of the text, not only because it is the first play ever written by an English woman, but also because of its investigation of paramount issues such as gender, politics, and race. In addition to this, the editors include an appendix where they give the readers a chance to know about the original source that Cary might have used in her play.
1 of 2 people found the following review helpful.
Interesting...
By J. J. Blanche
An interesting read, taking place in roughly the same time as Shakespeare's Antony and Cleopatra. Not quite as engaging as the latter author, but worthy of investigation nevertheless.
0 of 0 people found the following review helpful.
Hell Hath No Fury?
By Broadway Turk Superstar
Elizabeth Cary’s closet drama, Tragedie of Mariam, and Ben Jonson’s dark satire, Volpone, are classic studies of frustration and aggression triggered by jealousy and greed. Mariam becomes a martyr figure and a role model for women in the Renaissance period during which it was written. Volpone, alternately, is a symbol of greed whose climactic downfall is the moral of Jonson’s story. Yet the parallels between the characters in both works give us timeless examples of the folly of displaced emotion that prove disastrous to all concerned.
In Mariam, the heroine is filled with anger after her brother and grandfather are killed on her husband Herod’s orders. This has been done to eliminate the possibility of any of her lineage ascending to his throne as King of Judea. Herod has been summoned to Rome to appear before Caesar after the death of Herod’s mentor, Mark Antony. He leaves further orders that Mariam is to be murdered in the event of his own demise to continue the legacy of his bloodline. His ex-wife and his sister Salome find their hopes dashed by Herod’s return from Rome. They continue to intrigue against Mariam until Salome convinces Herod of his wife’s disloyalty. Herod’s paranoia leads him to ordering his wife’s death, but his enormous guilt results in a closing soliloquy reminiscent of Shylock in “Merchant of Venice” as a study in self-asserting rationalization.
In Volpone, we find a wealthy recluse whose main pastime is defrauding acquaintances for investments in his estate. Mosca, his ambitious valet and apprentice shyster, cons their marks into believing his master’s impending demise will improve their positions as heirs to his fortune. Voltore’s lawyer, Voltore, vies with merchants Corvino and Corbaccio for Volpone’s favor and Mosca’s influence. Voltore’s lust for Corbaccio’s wife Celia proves their downfall. The obstreperous Lady Wouldbe is rejected as Voltore’s nursemaid in favor of Celia, while Bonario finds he has been excluded from his father Corbaccio’s will in favor of Voltore in hopes of a reciprocal gesture. Voltore’s assault of Celia is witnessed by Bonario, whose actions lead to a courtroom appearance by all concerned. Lady Wouldbe denounces Bonario and Celia as adulterers, clearing Volpone of all charges. Only having named Mosca as beneficiary draws the ire of Voltore, who threatens to reveal the chicanery before the court. Volpone reveals himself in a desperate effort to frustrate both Mosca and Voltore’s ambitions. The resulting judgments rendered by the court satisfies the indictment of a materialistic society by playwright Jonson.
In comparing the motivations of Salome and Lady Wouldbe, we see how displaced anger becomes the catalyst for injury against the innocent victims in both plays. Salome, unable to leave her husband Constabarbus for her love Silleus, vents her frustrations on Mariam. Salome sees Mariam as a rival to the family bloodline, resulting in open conflict between the women. Salome convinces Herod that Sohemus has conspired with Mariam against the king and successfully sues for her rival’s demise. Lady Wouldbe, losing position to Celia as Volpone’s nurse, is convinced by Mosca that her husband was seen on a gondola with a rival as a distracting subterfuge. Finding the report false, she remains aroused so that Mosca can convince her to identify Celia as the woman on the gondola.
In both subplots, both Cary and Jonson are able to present a didactic example of the proverb, “Hell hath no fury like a woman scorned”. Salome finds herself scorned by Mariam and frustrated by Constabarbus, leading to her vengeful actions that cause Mariam’s execution. Lady Wouldbe is rejected by Volpone and perceives her husband’s infidelity, resulting in her false testimony against Celia. (Interestingly, we find Volpone translated as “the Fox” in Italian, while Herod’s grandson would be referred to as “the Fox” by Jesus in the Gospels.) Both Volpone and Herod find their hopes shattered by the vengeance of the female protagonists, their manipulations ultimately working against them as the authors conclude their morality plays.
Both The Tragedy of Mariam and Volpone are timeless masterpieces of the Renaissance Era that deliver messages reverberating across the centuries. They are worthwhile additions to any serious book-lover’s collection, or at least worth picking up at the local library.
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