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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>Acknowledgements</TD><TD WIDTH=40></TD><TD VALIGN=TOP>ix</TD><TD></TD></TR><TR><TD>Introduction</TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(1)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Revenge Tragedy: Critical Issues</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(2)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Dead and Performative Religio-Politics at the `Change of Religion'</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>3</TD><TD VALIGN=TOP>(15)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Mourning and its Aesthetics at the `Change of Religion'</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>18</TD><TD VALIGN=TOP>(9)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>`Outrage Fits': Revenge and the `Melodrama' of Mourning in The Spanish Tragedy, Titus Andronicus and Hamlet</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>27</TD><TD VALIGN=TOP>(48)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Spanish Tragedy, c. 1586-1587</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>27</TD><TD VALIGN=TOP>(17)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Titus Andronicus, c. 1592</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>44</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Hamlet, c. 1600, revised 1600-1604</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>60</TD><TD VALIGN=TOP>(15)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Funerary Theatre: Mourning, Antonio's Revenge and Paul's Theatre</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>75</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Melodrama and Parody: Remembering the Dead in The Revenger's Tragedy, The Atheist's Tragedy, The White Devil and The Duchess of Malfi</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>97</TD><TD VALIGN=TOP>(48)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Revenger's Tragedy, c. 1606</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>98</TD><TD VALIGN=TOP>(9)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Atheist's Tragedy, c. 1611</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>107</TD><TD VALIGN=TOP>(14)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The White Devil, c.1613</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>121</TD><TD VALIGN=TOP>(13)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Duchess of Malfi, c.1613</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>134</TD><TD VALIGN=TOP>(11)</TD></TR><TR><TD>Conclusion</TD><TD WIDTH=40></TD><TD VALIGN=TOP>145</TD><TD VALIGN=TOP>(4)</TD></TR><TR><TD>Select Bibliography</TD><TD WIDTH=40></TD><TD VALIGN=TOP>149</TD><TD VALIGN=TOP>(10)</TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>159</TD><TD></TD></TR></TABLE>

"Considering major works by Kyd, Shakespeare, Middleton and Webster among others, this book transforms current understanding of early modern revenge tragedy. Examining the genre in light of historical revisions to England's Reformations, and with appropriate regard to the social history of the dead, it shows revenge tragedy is not an anti-Catholic and Reformist genre, but one rooted in, and in dialogue with, traditional Catholic culture. Arguing its tragedies are bound to the age's funerary performances, it provides a new view of the contemporary theatre and especially its role in the religious upheavals of the period."--BOOK JACKET

Revenge tragedy and the drama of commemoration in reforming England