97:
Tyb and Sir John finish the entire pie, then mock John when he complains, pretending that they gave him some. John has had enough by this point, so he fights with both of his tormentors, throwing them out. John does not have long to enjoy his victory, however, as his anxiety over what the two will do
109:
has a clear central message against allowing wives, and indeed women in general, too much leniency. The main character, John John, is, until the ending, completely ineffectual in his attempts to control his wife, and it is from this reversal of the laws of the early modern
English household that the
85:
John John opens with the eponymous character alone in his poorly kept home, wondering after the whereabouts of his wife, Tyb, and debating whether he should beat her when she arrives. However, when she does come home, she is instantly domineering, and he is instantly submissive. John believes his
93:
Once at home, Tyb sends John out to fetch water in a pail, and it is revealed during his absence that the priest has been lying to him, and that Tyb and Sir John intend to make a fool of him. John returns with no water, as the bucket has a “cleft” in it. Tyb tells him to repair it, and Sir John
89:
Tyb orders John to go invite the priest to sup with them, but not before she makes him carry out all the domestic chores in preparation for Sir John's arrival. John goes to Sir John’s house, where he and the priest converse, and John is relieved to hear that the priest has chastised Tyb for her
162:, in which the characters are named for what they represent, such as Fellowship, Kindred, and Good Deeds. John John still contains a traditional moral message however, concerning the dangers of female sexuality, and lacks the moral complexity of a true Renaissance play like
94:
produces two wax candles for the work. The priest and Tyb then go to eat pie at the table together, while John is left to polish and rub the hard wax candles alone by the fire so they will be soft enough to repair the cleft.
86:
wife has been with the local priest, Sir John, and claims that he is a well known knave. Tyb, however, claims to have been making a pie with Sir John and several other women’s help. She then produces the pie as evidence.
113:
First and foremost, this play was meant to entertain its audience, with vulgar humour and reversed expectations. It has little to criticize about the society it portrays. However, as a relatively early
118:
work, its influence on later pieces of the period can be seen in many significant plays, especially the character of the domineering wife. This theme is present in notable
Renaissance plays such as
110:
play derives its conflict. To theatre goers of the time, this would have been a significant role reversal, and the constant emasculation of John would have been extremely humorous.
90:
treatment of John, and believes that Tyb is furious with him for his words. The priest initially refuses to come, but John convinces him, believing that the priest a friend.
187:
format. There are no other notable publications. It is notable that the play contains a negative portrayal of a
Catholic priest during a time of religious upheaval,
45:. It relates the tale of a common Englishman who believes his wife to be cheating on him with the local priest. The play can be said to contain elements of a
56:
can be seen to forge a link between the simpler morality plays of the medieval period, and the complex drama of the early modern period.
305:
213:. Both contain a husband who suspects his wife to be cheating on him, but lacks the strength of will to confront his tormentors.
120:
158:. While the characters are flat, they are presented as fully realized humans, rather than in a typical morality play, such as
159:
155:
169:
130:
164:
138:. Clearly this reversal of roles was a popular source of comedy and conflict in early modern England.
329:
195:
with the
Catholic Church in the early 1530s may have contributed to it being chosen for publication.
209:
192:
135:
311:
184:
188:
34:
52:, but as the characters are not simple abstract personifications of a vice or virtue,
323:
151:
49:
21:
The Merry Play between John John the
Husband, Tib his Wife, and Sir John, the Priest
42:
172:, in which the correct course of action for the characters is not always clear.
115:
125:
98:
now that they are alone together quickly sends him out the door after them.
25:
259:
Borowska-Szerszun, Sylwia. (2007). "The Unruly
Household in John Heywood's
242:
Borowska-Szerszun, Sylwia. (2007). "The Unruly
Household in John Heywood's
207:
shares significant plot similarities with an earlier French farce called
46:
277:
231:
38:
288:
Craik, T.W. (1950). "The True Source of John
Heywood's 'John John'".
31:
265:
Studia
Anglica Posnaniensia: International Review of English Studies
248:
Studia
Anglica Posnaniensia: International Review of English Studies
28:
191:, which may have contributed to its popularity. The
16:
Tudor era farcical comedic interlude by John Heywood
37:written in 1520 and first published in 1533 by
8:
70:JOHN JOHN, The husband of Tib, and a cuckold
150:represents a transition between medieval
223:
316:audio adaptation at Beyond Shakespeare
73:TIB, His domineering and disloyal wife
7:
278:http://deep.sas.upenn.edu/index.html
276:Database of Early English Playbooks
232:http://deep.sas.upenn.edu/index.html
230:Database of Early English Playbooks
14:
183:was first published in 1533 in
1:
121:Epicœne, or The silent woman
76:SIR JOHN, a roughish priest
346:
290:The Modern Language Review
146:As a Tudor period play,
170:Elizabeth Tanfield Cary
131:The Taming of the Shrew
165:The Tragedy of Mariam
156:Renaissance theatre
136:William Shakespeare
337:
293:
286:
280:
274:
268:
257:
251:
240:
234:
228:
65:Dramatis personæ
345:
344:
340:
339:
338:
336:
335:
334:
320:
319:
302:
297:
296:
292:45(3), 289-295.
287:
283:
275:
271:
258:
254:
241:
237:
229:
225:
220:
201:
189:The Reformation
178:
144:
104:
83:
67:
62:
17:
12:
11:
5:
343:
341:
333:
332:
322:
321:
318:
317:
309:
301:
300:External links
298:
295:
294:
281:
269:
252:
235:
222:
221:
219:
216:
215:
214:
210:Farce du Paste
200:
197:
193:English schism
177:
174:
143:
140:
103:
100:
82:
79:
78:
77:
74:
71:
66:
63:
61:
58:
15:
13:
10:
9:
6:
4:
3:
2:
342:
331:
328:
327:
325:
315:
314:
310:
307:
304:
303:
299:
291:
285:
282:
279:
273:
270:
266:
262:
256:
253:
249:
245:
239:
236:
233:
227:
224:
217:
212:
211:
206:
203:
202:
198:
196:
194:
190:
186:
182:
175:
173:
171:
167:
166:
161:
157:
153:
152:morality play
149:
141:
139:
137:
133:
132:
127:
123:
122:
117:
111:
108:
102:Themes/Motifs
101:
99:
95:
91:
87:
80:
75:
72:
69:
68:
64:
59:
57:
55:
51:
50:morality play
48:
44:
40:
36:
33:
30:
27:
23:
22:
312:
308:from sff.net
289:
284:
272:
264:
260:
255:
247:
243:
238:
226:
208:
204:
180:
179:
163:
147:
145:
129:
119:
112:
106:
105:
96:
92:
88:
84:
53:
43:John Heywood
20:
19:
18:
330:1520s plays
176:Publication
116:Renaissance
41:playwright
218:References
199:Influences
126:Ben Jonson
313:John John
306:Full text
261:John John
244:John John
205:John John
181:John John
148:John John
107:John John
54:John John
35:interlude
26:Tudor era
324:Category
160:Everyman
60:Synopsis
47:medieval
29:farcical
39:English
32:comedic
154:, and
128:, and
185:Folio
168:, by
142:Genre
124:, by
24:is a
81:Plot
267:43.
263:".
250:43.
246:".
134:by
326::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.