The Malcontent

In 1601 John Marston, William Shakespeare, Ben Jonson, and George Chapman were described as "the best and chiefest of our modern writers". Today, only English majors are likely to be acquainted with John Marston's works. Even his most popular play, The Malcontent (1604), is seldom encountered. The Malcontent is often categorized as a revenge play, although it is quite unlike Thomas Kyd's The Spanish Tragedy, Shakespeare's Titus Andronicus, or The Revenger's Tragedy (uncertain authorship). Even though deceit, betrayal, disguises, and attempted murders are essential elements of the plot, The Malcontent lacks the brutality that characterizes other Elizabethan and Jacobean revenge plays. Unexpectedly, as the play develops, Malevole, the disguised Duke of Genoa, shows some willingness to forgive others for their past injustices. The recovery and restoration of character becomes more important than revenge. The Malcontent makes good reading. Cascading betrayals and unexpected twists maintained my interest throughout all five acts. Unlike many contemporaneous plays, the plot is not complicated by extraneous subplots. The action, although sometimes convoluted, is all tightly connected. All in all, I found the The Malcontent to be easier reading than most Elizabethan and Jacobean plays. Induction: Act I is preceded by an Induction by John Webster, a six page witty discussion among five of the Globe Theatre actors (including Richard Burbage) regarding the author's intentions and recent modifications to the play itself. Apparently, The Malcontent had been previously staged by a rival theatre, the Children of the Queen's Revels at Blackfriars. While of interest to scholars in unraveling the early history of Marston's play, this induction is not germane to the plot itself. Staging: In the introduction Bernard Harris, the editor of the New Mermaids edition, describes The Malcontent as "a theatrically ambitious and bewilderingly active play, rich in details of staging." Scenes require attendants, pages, lights, ladies, processions, music, dancing, costumes, jewelry, feasts, and even the devising of a masque.

Malevole, the title character of Marston's masterpiece, has good reason to be a malcontent: he is the disguised, deposed rightful ruler of Genoa. The play is a collection of intrigues, questions as to who knows what about whom, and disguises. It is a great joy to read and one of my favorite pieces of Renaissance literature.The New Mermaid edition is very nice, with a good introduction, but the language has been modernized more than in most editions.