Jan 1, 2010

Tis Pity She's a Whore | Introduction

First published in 1633, 'Tis Pity She's a Whore is perhaps the most popular and frequently performed play by John Ford, whom many scholars consider the last major dramatist of the English renaissance.

As a dramatist, Ford faced a difficult challenge. He wrote 'Tis Pity She's a Whore during the reign of King Charles (hence the term ‘‘Carolinian’’) and worked to entertain audiences who had grown up on some of the greatest plays in the English language, those of Jonson, Marlowe, and Shakespeare, among others. According to some critics, since audiences thought they had already seen everything, it was incumbent on Ford to try to show them something they had not seen. This in part accounts for the extreme behavior we see in the characters in Ford's plays.

'Tis Pity She's a Whore tells the tale of an incestuous love between Giovanni and his sister Annabella that ends in disaster and death. Set in Parma, Italy, the story takes place against a background of lust, vengeance, and greed that serves as a critique of contemporary culture and morality.

Ford's interest in aberrant psychology figures prominently in many of his plays. Influenced by the renaissance psychology of Robert Burton's Anatomy of Melancholy, Ford created characters with powerful emotions, strong intellects, and unbridled appetites.

Critics have noticed the parallels between Ford's 'Tis Pity She's a Whore and Shakespeare's Romeo and Juliet: both plays feature young lovers, forbidden love, a meddling nurse and friar, and a tragic ending—though Ford's incestuous lovers added an extra twist not found in Shakespeare's play. While some scholars criticize the violence in Ford's plays as excessive, others praise him for realistically portraying profound—if disturbing—psychological truths.

Tis Pity She's a Whore Summary

Act I
Act I, scene i
The Friar and Giovanni discuss Giovanni's incestuous love for his sister, Annabella. The friar, formerly Giovanni's teacher when he studied at the university of Bologna, warns him of the seriousness of his sin, but Giovanni claims his passion remains beyond his control. The Friar believes that Giovanni, a good student of logic, uses logic to prove something sinful to be virtuous. The friar warns him that others who used logic ‘‘to prove / There was no God ... / Discover'd ... the nearest way to hell.’’

When Giovanni begs for his advice, the Friar urges him to fast and pray, which Giovanni agrees to try, though it fails to rid him of his incestuous love. He believes himself fated to love his sister and to pursue her love.

Act I, scene ii
Grimaldi and Soranzo are both wooing Annabella. Soranzo believes that Grimaldi is speaking badly about him to their mutual love. For this reason, he urges his servant, Vasques, to insult Grimaldi and pick a fight. Grimaldi refuses, recognizing the dishonor of dueling with someone of a lower social class, but Vasques presses his case and a duel ensues. As Vasques bests Grimaldi, Florio and Donado break up the fight. Soranzo explains his grievance against Grimaldi, all of which Annabella and Putana, her tutoress, witness. They compare Annabella's various suitors, and Putana indicates she prefers Soranzo, though Annabella reveals no preference.

Bergetto, Donado's foolish nephew, and his servant Poggio enter, and it is revealed that Bergetto too seeks Annabella's hand. The scene ends as Giovanni enters and, after a soliloquy which reveals his incestuous infatuation, confesses his love to his sister Annabella. She replies that she loves him too, saying "Love me or kill me, brother" and they go off to consummate their incestuous relationship.

Act I, scene iii
Florio, Annabella's father, discusses with Donado, Bergetto's uncle, Annabella's possible marriage with the foolish Bergetto. Florio looks favorably on Bergetto's money but admits the choice lies with Annabella, saying "My care is how to match her to her liking." After Florio leaves, Bergetto and his servant Poggio enter, talking nonsense about a magical mill and strange horse. Bergetto's gullibility is revealed when he explains that he believes this nonsense to be true, because the barber swore so. Florio has sent Bergetto off to woo Annabella, but instead of winning her love, Bergetto shows himself to be a fool. Florio suggests he will write a love letter from Bergetto to Annabella, sending it along with a jewel.

Act II, scene i
Giovanni and Annabella, having made love, enter as though coming from their chamber. Giovanni discusses her possible marriage, while she replies that "all suitors seem to my eyes hateful." He leaves and Putana enters. When Annabella confesses her incest with Giovanni, Putana condones it, explaining that "if a young wench feel the fit upon her, let her take anybody, father or brother, all is one.’’

Florio enters with Richardetto and his niece Philotis, who carries a lute. Richardetto pretends to be a doctor from Padua because he suspects his wife Hippolita of being unfaithful—she has been conducting an affair with Soranzo. Richardetto sent word of his death, then returned in disguise to witness his wife's behavior; the reason for Richardetto's disguise is not disclosed in this scene, however. He introduces his niece to Annabella, who leaves to have a conference with Florio, her father.

Act II
Act II, scene ii
Soranzo enters, reading a book about love and pondering his affection for Annabella. Hippolita, Richardetto's wife, and Vasques enter. Soranzo breaks off his affair with Hippolita. While her husband lived, Soranzo promised that in the event of her husband's death, he would marry... » Complete Tis Pity She's a Whore Summary