John Ford Criticism
John Ford, an influential playwright of the Caroline era, is renowned for his provocative themes and dramatic spectacles. His works, often perceived as decadent, captivated audiences with their exploration of taboo subjects, earning him both acclaim and controversy. Ford's dedication to reviving the Elizabethan dramatic tradition, despite shifting audience tastes, marks him as a unique figure in the literary landscape of early 17th-century England. His plays are characterized by their use of tragedy to probe the morality of his characters, prompting discussions about whether they serve a didactic purpose or reflect moral flexibility, as analyzed by Robert Ornstein.
The controversial play 'Tis Pity She's a Whore epitomizes Ford's sensational approach, with its shocking climax where Giovanni presents his sister Annabella's heart on a dagger. This sensationalism, appealing to the tastes of contemporaries under Charles I, also serves as a critique of the moral fabric of Ford's time, suggesting a nuanced perspective on human law and divine order, as highlighted by Irving Ribner. Scholars such as Kenneth Muir argue for a subtle moral philosophy underpinning Ford's seemingly shocking narratives.
Ford's repertoire includes works like The Witch of Edmonton, co-written with Dekker and Rowley, which explores themes of witchcraft and murder. His significant solo plays, such as The Lover's Melancholy, The Broken Heart, and Love's Sacrifice, delve into themes like jealousy and complex sibling relationships. R.J. Kaufmann notes these themes, highlighting Ford's dramatic evolution. The Broken Heart particularly stands out for its emotional depth, as discussed in David Murray's review.
Ford's mature dramatic abilities shine in his last major work, Perkin Warbeck, which focuses on political intrigue in the English court. This play's portrayal of kingship and political themes is examined by Donald K. Anderson Jr. and Jonas A. Barish, who highlight Ford's character development and thematic maturity.
Modern critics are increasingly reevaluating Ford's work, emphasizing his sophisticated narrative techniques and moral complexity. G. F. Sensabaugh notes Ford's engagement with contemporary issues such as scientific determinism and individualism. Despite initial criticism, Ford's intense portrayal of tragic emotions has gained recognition, as noted by Adolphus William Ward. Though his comedic elements are often viewed as less effective, Ford remains a significant, if controversial, figure in English dramatic literature for his bold thematic explorations and emotional depth.
Contents
- Principal Works
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Ford, John (Contemporary Literary Criticism)
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Introduction
(summary)
The critic highlights John Ford's significant impact on American cinema, particularly as a master of the western genre, emphasizing his storytelling techniques and thematic focus on American legends, familial bonds, and moral complexities, while also acknowledging the decline in critical acclaim of his later works.
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Exceptional Photoplays: 'Arrowsmith'
(summary)
In the following essay, Louise Wallace Hackney praises John Ford's film adaptation of Sinclair Lewis's "Arrowsmith" for its fidelity to the novel's spirit, its effective focus on the theme of scientific dedication, and its artistic cinematography, while noting that the film foreshadows a higher standard of American cinematic interpretation.
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Two Films
(summary)
In the following essay, Otis Ferguson critiques John Ford's adaptation of "The Informer," acknowledging its potential and powerful scenes, but ultimately finding it disappointing due to overused symbolic techniques and inadequate execution that undermine its dramatic impact.
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Exceptional Photoplays: 'The Informer'
(summary)
In the following essay, James Shelley Hamilton examines John Ford's film "The Informer," praising its adaptation of Liam O'Flaherty’s novel for its sincere portrayal of character and effective cinematic techniques, while noting its occasional reliance on conventional movie tropes and romanticized motivations.
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'Stagecoach'
(summary)
In the following essay, Frank S. Nugent praises John Ford's film "Stagecoach" for its grand narrative style, vivid visuals, and direct storytelling, highlighting Ford's preference for expansive, action-driven scenes that engage the audience without subtlety.
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Springfield to Titipu to Green City
(summary)
In the following essay, Philip T. Hartung critiques John Ford's film "Young Mr. Lincoln" for its lack of depth, poetry, and historical importance compared to the Robert Sherwood play, while noting its emphasis on character and the deliberate pacing that lends it an air of actuality.
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French and Indians
(summary)
In the following essay, Otis Ferguson critiques John Ford's film Drums Along the Mohawk as a visually appealing but generally average historical picture, noting that while Ford's direction elevates the film above typical offerings, it suffers from clichéd characterizations and slow pacing, despite having engaging action sequences.
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Show for the People
(summary)
In the following essay, Otis Ferguson praises John Ford's adaptation of The Grapes of Wrath as an unparalleled achievement in cinema, highlighting its mature storytelling, societal commentary, and innovative cinematic techniques, despite noting minor flaws in execution.
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'How Green Was My Valley'
(summary)
In the following essay, Bosley Crowther critiques John Ford's film "How Green Was My Valley," praising its poetic charm and visual mastery while noting its lack of clear dramatic intensity due to its faithful adherence to Llewellyn's episodic narrative style.
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Portrait of the Artist
(summary)
In the following essay, Manny Farber criticizes John Ford's film "My Darling Clementine" for its excessive focus on visual aesthetics and clichéd settings, arguing that it detracts from the historical authenticity and dynamic action typical of Westerns.
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'She Wore a Yellow Ribbon,' at Capitol, Stars John Wayne As a Cavalry Captain
(summary)
In the following essay, Bosley Crowther praises John Ford's film "She Wore a Yellow Ribbon" for its vivid depiction of the United States Cavalry, highlighting Ford's masterful direction in capturing the heroism and romance of frontier legends through visually stunning and emotionally compelling scenes.
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John Ford: His Work Is a Portrayal of the Righteous Man
(summary)
In the following essay, Anderson argues that John Ford's films embody authenticity through their natural symbolism, simplicity in storytelling, and moral integrity, emphasizing traditional themes and optimistic portrayals of humanity, while critiquing Ford's work for visual pretentiousness when his material lacks genuine personal connection.
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Retrospective Reviews: 'Wagonmaster' and 'Two Flags West'
(summary)
In the following essay, Lindsay Anderson argues that John Ford's film Wagonmaster embodies an avant-garde approach within the Western genre, emphasizing the poetic depiction of pioneering spirit over conventional plot structures.
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Realism in the Film: A Philosopher's Viewpoint
(summary)
In the following essay, Kaplan argues that John Ford's film "The Long Voyage Home" transcends typical genre boundaries to explore the universal human condition and the perpetual quest for meaning, drawing parallels to classic literary works and emphasizing the film's expressiveness over allegorical or literal representation.
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The Curious Cult of John Ford
(summary)
In the following essay, Gerald Cockshott critiques the reverence surrounding John Ford, arguing that while Ford's films are visually beautiful, they suffer from weak narrative coherence, lack of imaginative sound use, and indulgence in sentimental and clichéd themes, ultimately suggesting Ford's work is overvalued in film history.
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'Sergeant Rutledge' and 'The Unforgiven'
(summary)
In the following essay, Penelope Houston critiques John Ford's film Sergeant Rutledge for its perfunctory handling of the significant theme of the 9th Cavalry's history and racial pride, arguing that Ford's characteristic geniality and neglect of certain details hinder the film's exploration of its dramatic potential.
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Cactus Rosebud or 'The Man Who Shot Liberty Valance'
(summary)
In the following essay, Andrew Sarris argues that John Ford's film "The Man Who Shot Liberty Valance" is a masterpiece combining political, psychological, and historical themes, reflecting Ford's introspection on past values and their transformation into legends, while achieving a unified work of art with significant emotional and intellectual depth.
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'The Man Who Shot Liberty Valance' and 'Donovan's Reef'
(summary)
In the following essay, Ernest Callenbach criticizes John Ford's film "The Man Who Shot Liberty Valance" for its lack of cohesive storytelling, indulgent direction, and underlying sinister tone, arguing that its romanticized view of individualism and weak structure detract from the potential depth and novelty expected from a Western.
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'Cheyenne Autumn'
(summary)
In the following essay, Bosley Crowther commends John Ford's film "Cheyenne Autumn" as a visually stunning and powerful depiction of the American Indian experience, highlighting its authenticity and critique of historical injustices, despite noting a narrative disruption that undermines its overall integrity.
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The Auteur Theory
(summary)
In the following essay, Peter Wollen explores the central antinomies of wilderness versus garden and nomad versus settler in John Ford's films, analyzing how these oppositions define and complicate the characters and narratives, especially in works like "The Searchers" and "The Man Who Shot Liberty Valance."
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'Young Mr. Lincoln'
(summary)
In the following essay, McBride and Wilmington praise John Ford's film Young Mr. Lincoln as a nuanced and magical depiction of Lincoln's early life, highlighting Ford's ability to evoke the tension between nostalgia and transience, and his skill in blending reverent iconography with a humanizing portrayal of Lincoln's character.
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Shall We Gather at the River?: The Late Films of John Ford
(summary)
In the following essay, Robin Wood argues that John Ford's late films complexly reflect a struggle to reconcile nostalgic traditional values with the evolving American society, ultimately resulting in an elegiac tone and weakened conviction compared to his earlier works, as seen in the contrast between The Man Who Shot Liberty Valance and My Darling Clementine.
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The Cinema of John Ford
(summary)
In the following essay, John Baxter argues that John Ford's films are deeply embedded with Catholic themes and religious symbolism, illustrating the enduring impact of faith and morality on community and individual struggles, with a particular focus on Ford's nuanced exploration of spiritual dilemmas and the tension between tradition and modernity.
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'Gone With the Wind' and 'The Grapes of Wrath' As Hollywood Histories of the Depression
(summary)
In the following essay, Thomas H. Pauly critiques John Ford's film adaptation of "The Grapes of Wrath" for its portrayal of the Joads' struggle against dehumanizing industrialization, highlighting its sentimentalism and flawed yet optimistic depiction of cooperative socialism as a resolution to the oppressive conditions of the Great Depression.
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God Bless John Ford
(summary)
In the following essay, François Truffaut praises John Ford for his ability to prioritize character development over visible direction, comparing his subtle style to literary figures like Maupassant or Turgenev, and acknowledges Ford's influence on providing significant roles for actresses such as Maureen O'Hara.
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Joseph McBride and Michael Wilmington
(summary)
In the following essay, Joseph McBride and Michael Wilmington analyze John Ford's films, emphasizing their themes of archetypal Western narratives, social criticism, and complex character development, while highlighting Ford's distinctive use of irony, myth, and community to explore American identity and moral ambiguity.
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'Stagecoach'
(summary)
In the following essay, John P. Frayne explores how John Ford's films emphasize simple yet powerful themes such as friendship and honor, while also acknowledging Ford's tendency toward mythologizing the American West and portraying it with ideological limitations, ultimately arguing for the enduring human truths within Ford's cinematic legends.
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Introduction
(summary)
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Ford, John (Drama Criticism)
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Overviews And General Studies
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Fordian Tragedy
(summary)
In the following essay, Leech contends that despite displaying a generally refined dramatic technique, Ford nevertheless is unable to imbue the tragic events in Love's Sacrifice, The Broken Heart, and Perkin Warbeck with an overall significance.
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Ford's Tragic Perspective
(summary)
In the essay below, Kaufmann identifies jealousy as a tragic motif in The Queene, Love's Sacrifice, and 'Tis Pity She's a Whore, commenting on how this theme manifests itself through the devices of misalliance, the 'psychology of vows,' and counterfeiting.
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The Case of John Ford
(summary)
In the following essay, Muir maintains that despite the overt, sensational presence of aberrant sexual passion in Ford's major plays, the tragic events and outcomes of the dramas indicate the operation of a conservative underlying moral and religious philosophy.
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Brother-Sister Relationships in Ford's 1633 Plays
(summary)
In the essay below, Bergeron explores brother-sister relationships in Love's Sacrifice, The Broken Heart, and 'Tis Pity She's a Whore, arguing that Ford logically and consciously developed the theme of incest in the course of writing the three plays.
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Fordian Tragedy
(summary)
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'Tis Pity She's A Whore
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'Tis Pity She's a Whore
(summary)
In the review below, Macaulay questions the viability of David Leveaux's interpretation of Giovanni and Annabella's incestuous relationship in his 1992 staging of 'Tis Pity She's a Whore at London's Pit Theatre.
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'Tis Pity She's a Whore
(summary)
In the following review, Taylor commends David Leveaux's 'penetrating and pulse-quickening account' of 'Tis Pity She's a Whore at The Pit Theatre.
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'Tis Pity She's a Whore
(summary)
In the following review, Eyres offers a favorable review of David Leveaux's 1992 presentation of 'Tis Pity She's a Whore at London's Pit Theatre, particularly praising the cast's performances.
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By Nature's Light: The Morality of 'Tis Pity She's a Whore
(summary)
In the following essay, Ribner asserts that Ford's dramatization of the moral dilemma surrounding incest in 'Tis Pity She's a Whore reveals his larger preoccupation with humankind's universal conflict between natural and divine law.
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'Tis Pity She's a Whore
(summary)
In the essay below, Stavig contends that Ford wrote 'Tis Pity She's a Whore as a burlesque of the traditional morality play, intentionally adding absurd melodramatic and satiric elements to the play in an effort to minimize his audience's reaction to the theme of incest and the closing spectacle of violence.
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'Tis Pity She's a Whore: Representing the Incestuous Body
(summary)
In the following essay, Wiseman discusses Ford's treatment of the incestuous body in 'Tis Pity She's a Whore as a context from which modern readers can examine seventeenth-century cultural attitudes towards sex, incest, and the human body.
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'Tis Pity She's a Whore
(summary)
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The Broken Heart
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Review of The Broken Heart
(summary)
In the review below, De Jongh applauds Michael Boyd's 1995 staging of The Broken Heart at London's Barbican Theatre as "a spectacular but truthful performance, brimming with sardonic humour and emotional dynamism."
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The Broken Heart
(summary)
In the following review, Murray commends Michael Boyd's production of The Broken Heart, asserting that "the serious work has all gone into the characters and the elaborate, darkly ironical verse which has to establish them and make the play."
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Duty-Bound in Sparta
(summary)
In the review below, Nightingale praises Michael Boyd's 1995 staging of The Broken Heart, arguing that the director made a taut production out of a generally diffuse play.
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The Decorum of Dying: The Broken Heart
(summary)
In the essay below, Anderson offers a detailed survey of The Broken Heart, focusing on the play's major themes, dramatic structure, and sources.
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Struggle for Calm: The Dramatic Structure of The Broken Heart
(summary)
In the following essay, Waith examines the thematic device of struggling to remain calm on the part of the major characters in The Broken Heart as a key to understanding the play's dramatic structure.
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Review of The Broken Heart
(summary)
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Perkin Warbeck
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Kingship in Ford's Perkin Warbeck
(summary)
In the essay below, Anderson examines the theme of kingship in Perkin Warbeck, particularly focusing on the political interplay between Warbeck, Henry VII, and James IV.
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"Perkin Warbeck" as Anti-History
(summary)
In the following essay, Barish contends that Ford intentionally departed from his historical sources when creating the character of Perkin Warbeck in an effort to enhance dramatic interest in the protagonist and to portray him as an obvious foil to the character of Henry VII.
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Kingship in Ford's Perkin Warbeck
(summary)
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Overviews And General Studies
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Ford, John (Literary Criticism (1400-1800))
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Prologue to Perkin Warbeck
(summary)
In the following prologue to Perkin Warbeck, first published in 1634, Ford states his reasons for attempting to revive the unfashionable history play genre.
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The Lady's Trial
(summary)
In the following diary entry dated March 3, 1669, Pepys recounts seeing The Lady's Trial, deeming it a “sorry play.”
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John Ford
(summary)
In the following essay, Langbaine provides a brief overview of Ford's dramatic works, singling out for censure Ford's treatment of incest in 'Tis Pity She's a Whore.
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Biographia Dramatica; Or, A Companion to the Playhouse Containing Historical and Critical Memoirs and Original Anecdotes of British and Irish Dramatic Writers
(summary)
In the following essay, originally published in 1764, Baker comments on Ford's The Lover's Melancholy and 'Tis Pity She's a Whore, noting that the former was warmly received when first acted while the subject matter of the latter is simply too shocking for audiences.
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The Broken Heart
(summary)
In the following essay, which was originally published in 1811, Lamb rhapsodizes about Ford's profound ability to dramatize tragic passion in The Broken Heart.
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Lecture IV
(summary)
In the following essay, which was originally published in 1820, Hazlitt describes Ford's dramatic technique as artificial and lacking imagination, but notes that such deficiencies are often overlooked due to the sensational nature of his plays.
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Fourth Conversation
(summary)
In the following essay, originally published in 1845 and written as a fictional dialogue between the characters of Philip and John, Lowell acknowledges Ford as a talented playwright but not one of the first rank of English dramatists.
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John Ford
(summary)
In the following essay, originally published in 1875, Ward praises the harrowing intensity of Ford's tragic figures, but contends that the tragic outcome in his plays is often insufficient in that it fails to give spectators catharsis.
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John Ford
(summary)
In the following essay, originally published in Essays and Studies in 1875, Swinburne recognizes Ford's distinctive dramatic style and characterizes him as a poet worth remembering.
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Introduction to John Ford (Five Plays)
(summary)
In the following essay, originally published in 1888, Ellis maintains that while Ford was a master of dramatizing passionate emotions, the rest of his technique was careless and uninspired.
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The Fourth Dramatic Period
(summary)
In the following essay, Saintsbury contends that while Ford demonstrated some poetic genius in his plays, nevertheless his characters are artificial and his low-comedy scenes are humorless.
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The Setting of the Plays
(summary)
In the following essay, first printed in 1935, Sargeaunt discusses the relationship between setting and the characters' emotions in Ford's plays.
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Fame and Confusion
(summary)
In the following essay, Sensabaugh proposes that Ford can be viewed as a prophet of modern thought in that his dramas explore the nascent issues of scientific determinism and extreme individualism.
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Ford and Jacobean Tragedy
(summary)
In the following essay, Leech discusses Ford's drama within the context of Jacobean tragedy, asserting that in 'Tis Pity She's a Whore Ford comes closest to recreating the Jacobean tragic spirit.
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Kingship in Ford's Perkin Warbeck
(summary)
In the following essay, Anderson argues that Perkin Warbeck presents a lesson in kingship, where the character of Henry VII represents the ideal ruler.
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John Ford
(summary)
In the following essay, Ornstein examines the moral design of Ford's major tragedies, arguing that they represent a flexible morality which is constantly shaped by the dynamic nature of human relationships.
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'Tis Pity She's a Whore
(summary)
In the following essay, Stavig argues that Ford integrated a sophisticated satirical commentary on contemporary moral, ethical, and religious issues into the traditional moral design of 'Tis Pity She's a Whore.
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The Language of Process in Ford's The Broken Heart
(summary)
In the following essay, Greenfield examines how Ford uses language in The Broken Heart to convey the process of feelings and actions that create a tragic chain of events.
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The Language of Cruelty in Ford's 'Tis Pity She's a Whore
(summary)
In the following essay, originally published in 1974, Rosen discusses 'Tis Pity She's a Whore within the context of Antonin Artaud's application of the tragedy to his theory of the theater of cruelty, concluding that Artaud fails to recognize that there is a fundamental balance between the cruel language and the violent action in the play.
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Moral Knowledge and the Double Action in The Witch of Edmonton
(summary)
In the following essay, Atkinson asserts that the theme of moral knowledge serves to unite the seemingly disconnected Mother Sawyer and Frank Thorney plots in The Witch of Edmonton.
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Structure and History in The Broken Heart: Sparta, England, and the ‘Truth.’
(summary)
In the following essay, Foster and Foster argue that Ford intended to draw an historical and political analogy between mythological Sparta in The Broken Heart and Elizabethan England, concluding that such an interpretation assists in revealing the play's structure and tragic outcome.
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The Rationalization of Conflicts in John Ford's The Lady's Trial
(summary)
In the following essay, Nogami examines Ford's sophisticated use of dualities in The Lady's Trial to achieve unconventional dramatic effects.
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Touching Touchets: Perkin Warbeck and the Buggery Statute
(summary)
In the following essay, Hopkins maintains that Ford's Perkin Warbeck encodes a form of sexual deviancy that may be subtle to modern readers and spectators but would not have been lost upon Ford's audience and patrons.
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Prologue to Perkin Warbeck
(summary)
- Further Reading