By IAN SCOTT-KILVERT (EDITOR)
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Extra resources for BRITISH WRITERS, Volume 2
Either because of this, or, as has been suggested, because of a growing disenchantment with the role of satirist, Marston turned to drama and during the next decade produced a series of plays, all of them for the new professional children's companies, the Children of the Chapel Royal, or the Queen's Revels, who played at Blackfriars, and the Children of Paul's, who played in the precincts of St. Paul's Cathedral. At these small, indoor, so-called "private" theaters, patrons paid much higher entrance charges than at the large, open-air public theaters, and they seem to have constituted a more sophisticated audience.
There is little or no sense of character in the play; the players know they are posturing in roles for the moment, and this is necessary for the overall effect; it is not a question of Marston's ability to create convincing characterization, but rather that in the mode of drama he invented, with some influence from Ben Jonson, character is not necessary. Antonio's Revenge is a continuation in that it mocks the conventions of heroic tragedy, with special reference to Seneca and to Thomas Kyd's The Spanish Tragedy.
F. Marotti, "Fertility and Comic Form in A Chaste Maid in 22 THOMAS MIDDLETON Cheapside," Comparative Drama (1969), emphasizes festivity and the celebration of life forces as a central principle in the play; D. M. Holmes, The Art of Thomas Middleton (Oxford, 1970), emphasizes Middleton's moral preoccupations; R. Jordan, "Myth and Psychology in The Changeling," Renaissance Drama (1970), finds mythological patterns, such as the wild man and the maiden, in the language of The Changeling; R. Levin, Multiple Plot in English Renaissance Drama (Chicago, 1971), considers in detail a number of Middleton's plays, including The Second Maiden's Tragedy, A Chaste Maid, and The Changeling, in a rich study of the structures and functions of the multiple plot; D.