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Middleton's Traffic in Dead Women: Chaste Corpses as Property in The Revenger's Tragedy and The Lady's Tragedy

In The Revenger’s Tragedy (1607) and The Lady’s Tragedy (1611), two plays that have been attributed to Thomas Middleton, the most significant props—and arguably the most significant actors—are a skull and a corpse, respectively. Both are the remains of dead women. In their climactic scenes, Gloriana’s skull in The Revenger’s Tragedy and the Lady’s corpse in The Lady’s Tragedy deliver poisonous kisses to the villains of their respective plays. They exist in the realm of mementi mori, perform the symbolic function of emblems and the lethal function of weapons, and play the roles of revengers. The fatal kisses given by Gloriana’s skull and the Lady’s corpse deliver sexualized vengeance to repay sexual violation. While the climactic acts performed by Gloriana and the Lady are structurally similar, and the latter instance has often been considered a theatrical recycling of the