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The Revenger as Dramatist: A Study of the Character-as-Dramatist in The Revenger's Tragedy

Studies of The Revenger's Tragedy have traditionally clustered about two areas: the authorship controversy and the Morality aspects of the play. The first is not relevant to this paper and the second only tangentially so. While acknowledging the general Morality background of the play (particularly as the themes of vanitas and memento mori lend themselves to certain dramatic effects-the Parade of Sins, the Dance of Death, and meditations on the skull), the prime concern here is to refute the charge that inevitably goes along with a strict morality interpretation, the charge that all the characters are flat personified abstractions which have no dramatic function outside the doctrinal scheme.2 A careful focus on the characterization of the