31:
428:
326:, with each actor performing between three and seven roles each. The respective size of the roles of Horestes (521 lines) and the Vice (557 lines), as well as the play's frequent alternation of
298:
and her lover; despite its interrogation during the course of the play, however, the justification for the murders remains an unresolved issue at its conclusion. In a further departure from the
338:
that included two leading actors who were adept at both serious and comic acting. The actor playing
Horestes also played the Woman (who appears in a brief scene between lines 626–647), while a
212:(c.1561), the play has been identified as a "hybrid morality", due to its articulation of classical themes, stories and characters with the medieval
869:
103:
A new interlude of Vice containing the history of
Horestes with the cruel revengement of his father's death upon his one natural mother.
322:
is longer than most of the older examples of the genre, running to 1,205 lines. The play was designed to be played by a company of six
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736:
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644:, Woman, Prologue (whose lines do not appear in the printed edition; see Bevington 1962, 82); fifth player – Haltersack, Soldier,
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100:
and was most likely performed by Lord Rich's men as part of the
Christmas revels at court that year. The play's full title is
1011:
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913:
106:
It has been proposed that John
Pickering (John Pickeryng) is likely to be the same person as lawyer and politician Sir
586:
351:
154:
821:
Shakespeare and the
Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function.
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See the introductory note to the facsimile edition (Farmer, 1910); this edition is available online – see below.
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Shakespeare and the
Allegory of Evil: The History of a Metaphor in Relation to his Major Villains.
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167:
163:
97:
37:
228:(Horestes); though their roles are about the same size, Horestes controls the important action.
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See the title page of the play, which gives the original distribution of roles: First player –
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ones, all unified by the theme of revenge. It is one of the earliest examples of an
English
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The
English Morality Play: Origins, History, and Influence of a Dramatic Tradition.
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Three Tudor
Classical Interludes: "Thersites", "Jacke Jugeler", "Horestes".
554:
Spivack (1958, 251–303), Bevington (1962, 58–61), and
Weimann (1978, 155).
633:
402:
213:
141:
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By John Pickering. Tudor facsimile texts ser. Amersham: John S. Farmer.
327:
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to Marlowe: Growth of Structure in the Popular Drama of Tudor England.
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of the morality, the forgiveness of Horestes is not prompted by his
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can claim distinction because of its earliness in the long line of
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323:
217:
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366:
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Baltimore and London: The Johns Hopkins University Press.
761:
Encyclopedia of British Writers: 16th and 17th Centuries.
712:
Tudor Interludes ser. Woodbridge, Suffolk: D.S. Brewer.
843:
Online PDF of Tudor Facsimile text of the 1567 edition
350:, as well as Hempstring and Provision. Unusually for
636:, Nobles; third player – Hodge, Counsel, Messenger,
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889:
68:
60:
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197:for sale at his shop in St. Dunstan's churchyard.
545:See the frontispiece to the 1567 edition (above).
563:Bevington (1962, 81–82) and Weimann (1978, 155).
189:holds. It was published by William Griffith of
162:(translated in 1475). Consequently, the play's
518:Farnham (1936, 259) and Bevington (1962, 179).
863:
754:The Medieval Heritage of Elizabethan Tragedy.
8:
314:As with other experimental moralities from
870:
856:
848:
756:Revised ed. Oxford: Basil Blackwell, 1956.
628:, Nature, Duty; second player – Rusticus,
96:John Pickering. It was first published in
29:
20:
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600:
598:
334:scenes, suggest that the play demanded a
791:The Staging of Plays Before Shakespeare.
220:, the central allegorical figure of the
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278:(1601). Unlike traditional moralities,
224:vies with a non-allegorical, classical
118:The play dramatises the story of the
7:
16:1567 morality play by John Pickering
664:. Also see Bevington (1962, 72–73).
35:Illustration from a 1473 edition of
159:Recuyell of the Historyes of Troye
14:
648:, Herald, Fame, Truth, Idleness,
673:Bevington (1962, 82–83, 85, 87).
434:to the 1567 edition of the play.
358:) between two different actors.
149:for his version of the story is
145:(458 BCE), however, Pickering's
294:, Horestes is forgiven for the
286:ending. In line with both the
1:
1012:A Satire of the Three Estates
181:Only one copy of the play is
808:NY and London: Columbia UP.
235:structure, which alternates
731:Cambridge, MA: Harvard UP.
652:; sixth player (probably a
640:, Commons; fourth player –
1133:
1047:The Three Ladies of London
1019:A Looking Glass for London
942:Liberality and Prodigality
900:The Castle of Perseverance
742:Farmer, John S, ed. 1910.
572:Bevington (1962, 87, 183).
354:, the play shares a role (
153:translation of the French
1117:English Renaissance plays
789:Southern, Richard. 1973.
763:New York: Facts on File.
28:
804:Spivack, Bernard. 1958.
774:Potter, Robert A. 1975.
752:Farnham, Willard. 1936.
723:Bevington, David. 1962.
691:Bevington (1962, 89–90).
251:, a genre that includes
47:the revenge of Horestes.
1107:Plays by John Pickering
963:The Play of the Weather
921:The World and the Child
819:Weimann, Robert. 1978.
759:Hager, Alan, ed. 2005.
745:The History of Horestes
606:Potter (1975, 119–120).
216:tradition. Within this
581:Farnham (1936, 259): "
527:Bevington (1962, 179).
435:
956:The Seven Deadly Sins
935:The Disobedient Child
682:Bevington (1962, 77).
615:Bevington (1962, 70).
500:Bevington (1962, 61).
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243:scenes with serious,
590:tragedies of revenge
296:murder of his mother
992:Autos sacramentales
778:London: Routledge.
257:The Spanish Tragedy
201:Structure and genre
928:Interlude of Youth
509:Hager (2005, 322).
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168:dramatic structure
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432:Frontispiece
383:Clytemnestra
344:Clytemnestra
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282:presents an
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249:revenge play
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191:Fleet Street
185:, which the
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1033:Pathomachia
632:, Soldier,
587:Elizabethan
316:Elizabeth's
300:conventions
269:(1603) and
226:protagonist
214:allegorical
205:Along with
38:Boccaccio's
1102:1567 plays
1096:Categories
1058:Characters
1005:Elckerlijc
891:Interludes
654:boy player
421:Hempstring
418:Haltersack
362:Characters
304:repentance
85:is a late
53:Written by
466:Provision
451:Messenger
340:boy actor
332:burlesque
284:ambiguous
262:Marston's
241:slapstick
176:classical
170:are more
138:tragedies
131:Aeschylus
94:dramatist
949:Horestes
914:Everyman
662:Hermione
642:Horestes
634:Menelaus
583:Horestes
412:Rusticus
408:Hermione
403:Menelaus
373:Horestes
348:Hermione
320:Horestes
290:and the
280:Horestes
260:(1587),
233:episodic
210:Cambises
172:medieval
142:Oresteia
135:Athenian
82:Horestes
24:Horestes
907:Mankind
881:of the
727:Mankind
699:Sources
650:Idumeus
646:Egistus
630:Idumeus
460:Commons
454:Counsel
439:A Woman
393:Idumeus
388:Egistus
356:Idumeus
342:played
324:players
318:reign,
288:Orestia
155:romance
127:Orestes
827:
812:
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782:
767:
735:
716:
638:Nestor
479:
463:Nature
457:Nobles
448:Herald
398:Nestor
328:tragic
275:Hamlet
245:tragic
195:London
183:extant
147:source
1076:Death
1071:Folly
725:From
488:Notes
469:Truth
415:Hodge
253:Kyd's
237:comic
218:genre
174:than
164:theme
87:Tudor
69:Genre
1066:Vice
825:ISBN
810:ISBN
795:ISBN
780:ISBN
765:ISBN
733:ISBN
714:ISBN
626:Vice
475:Duty
472:Fame
378:Vice
346:and
330:and
222:Vice
166:and
123:myth
98:1567
64:1567
125:of
1098::
597:^
592:."
306:.
239:,
193:,
178:.
110:.
45:of
871:e
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857:v
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801:.
786:.
771:.
747:.
739:.
720:.
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