Synopsis
“The next good mood I find my father in, I’ll get him quite discarded” With these chillingly offhand words, Beatrice-Joanna, the spoilt daughter of a powerful nobleman, plots to get rid of the family servant who has crossed her once too often. The Changeling’s vivid tale of sexual appetite, repulsion, betrayal and lunacy remains one of the most compelling tragedies of the 17th century. Exposing the vexed relationship between servants and masters, setting notions of `change’ against the revelation of psychological ‘secrets’ as ways of explaining human behaviour, and exploring the idea of love as a `tame madness’, the play reveals the terrifying consequences of ungoverned sexual appetite and betrayal. Featuring the full and modernized play text, this revised edition includes incisive commentary notes which explain the nuances of the play’s vibrant, colloquial language and demonstrate its sly delight in the characters’ conscious and unconscious wordplay. Michael Neill’s illuminating introduction provides a firm grounding in the play’s socio-political context, demonstrates how careful close-reading can expand your enjoyment of the play, explains the play’s violent linkage of comic and tragic plots and gives theatrical life to the text via a discussion of its stage history, with a particular emphasis on the most interesting recent productions. The New Mermaids plays offer: · Modernized versions of the play text edited to the highest textual standards · Fully annotated student editions with obscure words explained and critical, contextual and staging insight provided on each page · Full Introductions analyzing context, themes, author background and stage history
About the Authors
Thomas Middleton was a prolific and successful English Jacobean playwright and poet. A contemporary of Shakespeare and Ben Jonson, Middleton wrote over 30 plays including A Mad World, My Masters which was first performed in 1606.
William Rowley was born around 1585. His first recorded acting is in 1607, the same year his first two plays - Fortune by Land and Sea with Thomas Heywood and The Travels of the Three English Brothers with John Day and George Wilkins - were produced. From 1609 to 1621 he was a member of the Duke of York's Men (later Prince Charles's Men), usually taking the part of the clown. He began collaborating with Thomas Middleton on several important plays in 1617, writing the subplot of A Fair Quarrel; two years later he played the clown in Middleton's The Inner Temple Masque. That same year - 1619 - he wrote his only extant play without collaboration, All's Lost by Lust, a tragic melodrama which establishes the same tone as The Witch of Edmonton, a play he cowrote with Thomas Dekker and Thomas Middleton. In 1622 he again returned to comedy, but this time tinged with madness when writing the subplot of The Changeling, once more in collaboration with Middleton. In 1623 he joined the King's Men, offending the Spanish ambassador while playing the part of the fat bishop in Middleton's A Game at Chess (1624) and probably collaborating once more with Middleton on The Spanish Gipsy. In 1625 he worked with John Webster on the comedy A Cure for a Cuckold with the well known clown Compass and wrote his own city comedy A Woman Never Vexed. Rowley died in February 1626; only 16 plays have survived of more than 50 on which he worked during his lifetime.
Michael Neillis Emeritus Professor of English at the University of Auckland. He is the author of Issues of Death(1997) and Putting History to the Question (2000). He has edited Anthony and Cleopatra (1994) and Othello (2006) for the Oxford Shakespeare, Middleton and Rowley's The Changeling (2006) for New Mermaids, Massinger's The Renegado (2010) for Arden Early Modern Drama, and Kyd's The Spanish Tragedy (2013) for Norton Critical editions. He is currently preparing Webster's The Duchess of Malfi for Norton, and co-editing The Oxford Handbook to Shakespearean Tragedy (with David Schalkwyk).
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