Zusammenfassung der Ressource
Critical approaches to the main
characters in 'Tis' Pity'
- Giovanni
- Italian
meaning =
"young man"
- Seen as troubled from beginning.
Original audience would have seen
2 reasons for this deterioration
- 1: he is a university
student. His brooding
melancholy, self-isolation,
asceticism fit the
stereotype of a student in
Early Modern England
- Florio - "forsake this over-bookish
humour"
- Student like Hamlet.
- Charles Spencer -
"Like an
undergraduate
going through an
unstable phase"
Commenting of
Jude Law as
Giovanni in 1999
- 2: His tears, sighs,
shunning of
company would
have been
recognised as the
behaviour of a
unsatisfied lover
- Like Romeo
- Annabella sees this
- "this is some woeful
thing"
- Original audience would
have fround of his
justifications of incest and
adultery.
- Giovanni is separated from society due to his
practise and defence of incest
- This is represented on stage! Giovanni's physical
isolation
- 1.1 Friar - "lock thee
fast alone within thy
chamber"
- rarely in the lively,
bustling scenes
- Only in Annabella and
Soranzo's wedding
where he refuses to
toast the couple..
- utters ASIDES a lot
that only the audience
can hear
- this places him within the position
of an observer
- isolation explains his love
for Annabella.. He prefers a
secret, incestuoous love as it
corresponds with his habits
of seclusion and intropection
- he turns inward.. looking to the womb that
birthed him to provide him a lover
- "nearness in blood
doth but persuade a
nearness in affection"
- his insanity
- his jealously destroys his
capacity for love and empathy
- e.g his violent behaviour
towards Annabella
- Original audience would have
seen madness as a punishment
from God
- effect of his frustration and love
- symtom = not able to recognise
family members..
- Annabella
- unborn child
- Florio
- metaphorically: doesn't realise
his relations with Annabella.
- he is surprised by his father's horror
of the incestuous relationships
- Annabella
- beautiful
- Giovanni - "great than art can
counterfeit or nature frame
- Soranzo - "diviner cheeks"
- "Fair Annabella"
- "fair gentlewoman"
- gregarious and truthful character
- opposes Giovanni's isolation
- found it hard to keep
the affair secret...
- she is relieved when
Soranzo finds out
- Annabella repents
twice.3.6 and 5.1
- both out of fear of God and his punishments
- Annabella is innconcistant. She
continues to sleep with Giovanni
after she has repented
- Heroin?
- 4.3 she is ready to die to portent the identity of her
lover but she succumbs to fear towards the end
- dies as a victim of Giovanni's revenge
- reduced to a mere piece of flesh.
- her body
remains offstage
- Cardinal - "Tis' pity she's a whore"
- Heroin!
- Remains at the emotional
centre of the play. All plots
move around her!
- Ford is victimising her. Making a
statement of the cruel treatment of
women.
- Friar
- figure obviously borrowed
from Romeo and Julliett
- confidant to the male protagonist
- fails to save the lovers
- Bonaventura = 13th century monk.
Well known for being good and caring.
- by giving the Friar this background
shows him as a positive figure
- Putana
- modelled on the Nurse in Romeo and Juliett
- has a more liberally
attitude to sex
- provides moments of comic relief
- morally dark, Putana's
damnation is brutal
- tourtured for telling Vasques the truth
- Vasques - "carry her closely to the
coal-house and put out her eyes instantly
- shocking reaction towards the
incest for both a contemporary
audience and original
- "let her take anybody, father
or brother, all is one" 2.1
- Keen to earn money..
- 1.2 accepts a bribe to leave Annabella alone with a suitor
- 2.6 Takes money from Donado to
persuade Annabella to love Bergetto
- 4.3 betrays Giovanni and Annabella
for money from Vasques
- reveals the secret in exchange for
"everlasting love and preferment"
- Cardinals order "burnt to ashes"
aligns her with a witch whose
punishment what the same
- Putana, as a female, is
seen as the scapegoat
- represents the liberal attitude towards the
punishments of incest
- Soranzo
- little toleration for
conventional morality
- happy to sleep with, marry
and abandon Hippolita
- "the vows I made
we wicked and
unlawful, 'twere
more sin to keep
them than to break
them." 2.2
- he is vulnerable..
- Giovanni wants him dead
- Richardetto wants him dead
- Hippolita wants him dead
- Grimaldi wants him dead
- He needs Vasques to
protect and serve him
- couldn't kill Annabella 4
- could be sympathised with.
- Annabella realises the power she has over Soranzo
- Annabella - "if I loved you, or
desired your love, some way I
should have given you better taste"
- 5.2 Vasques forces him to reflect on all the
wrongs Annabella has done him
- it is argued that Soranzo is Giovanni's opposite!
- Giovanni is obsessed with
Annabella whereas Soranzo is
fickle in his desire
- consistently up-staged by
Giovanni
- as a lover
- as a revenger
- Vasques
- Spanish, lower-status
yet is a large role
- devoted servant to Soranzo
- double-crosses Hippolita
- a devoted servant was seen as
a worthy job
- noble
- Soranzo - "I know thee now
a trusty servant and never
will forget thee
- hard to sympathise with..
- takes sadistic delights
from the torture of Putana
- full of glee when he
discovers the
incest
- does not question the killing of
anyone..
- "what I have done was duty, and I repent nothing"
- enigmatic.
- villainous yet virtuous
- transgressive yet obedient