Parricide, The / Revenge for Honour
The Parricide: Anon. (1624). In earlier accounts, misattributed to George Chapman.
Revenge for Honour: Henry Glapthorne (after [[1637)] and probably 1639-1640). In earlier accounts, misattributed to George Chapman.
- 1624, 27 May. For the Prince's Company; A Play, called, The Parricide.
- (Herbert, 28).
- 1624, 27 May. The Parricide, containing 13 sheets and a half, allowed for the Princes Company 27 May 1624.
- (Bawcutt, Control and Censorship 103).
In late 1653, the printer Richard Marriott entered a group of twenty-one plays on the Stationers' Register. Among the titles is:
- The Paraside or Revenge for honor by Henry Glapthorne
Revenge for Honour. A tragedie, By George Chapman. London: Richard Marriot, 1654.
(Bentley, 4.489-90, notes later printings which repeat the same information).
The Parricide: Prince Charles's Men, 1624. Prince Charles's Men are thought to have been playing at the Red Bull at this date.
Revenge for Honour: Queen Henrietta's Men at the Salisbury Court Theatre, ?1639-40.
The Parricide: Tragedy.
Revenge for Honour: Tragedy.
Possible Narrative and Dramatic Sources or Analogues
The Parricide: None known.
Revenge for Honour: is extant.
Possible references to the Play
First and foremost, the question is whether one is dealing here with records of one play, or two. The entry on the very problematic Marriott's List tended to lead earlier scholars into assuming that all these records refer to a single, extant, play, whereas it is now accepted that two different plays are involved. For clarity, here, I refer to the earlier, lost play as The Parricide and the later, extant, play as Revenge for Honour.
The thing which cuts the Gordian knot here is the fact, discovered simultaneously in 1937 by J. H. Walter and Chester Linn Shaver, that the main source of Revenge for Honour is a pamphlet, The Life and Death of Mahomet, the Conquest of Spain together with the Rysing and Ruin of the Sarazen Empire, which was not published until 1637. Hence the Chapman attribution made by Richard Marriott, although much discussed in earlier criticism, is untenable. Equally untenable, for the same reason, is any identification between Revenge for Honour and the play licensed by the Prince's Men in 1624. Yet a third casualty of the discovery is F. T. Bowers' suggestion that The Parricide/Revenge for Honour could be identified as the offensive play involving a father-murder performed by the Prince's Men in 1619-20. (Bentley, 4.489-93, summarizes these debates). Hence, further discussion can be split into two subsections.
Revenge for Honour
Although strictly speaking outside the scope of a database of lost plays, Revenge for Honour itself is worth brief discussion because it is one of the few surviving plays from Marriott's List. A brief summary of the state of scholarship on it follows:
Revenge for Honour is a Moorish-set tragedy revolving around the murder of a father by his son. In his entry of 1653, John Marriott had attributed Revenge for Honour to Henry Glapthorne, and since the discovery of the source this attribution has generally been accepted, as it certainly reads like Glapthorne's other work. As a further refinement of the date, an internal reference in the play to the suppression of monopolies seems to suggest the years 1639-40 (Bentley, 4.489-93). As for its company attribution: Revenge for Honour was printed with a dedication by William Cartwright the younger and Curtis Greville, both of whom worked with Richard Heton at Salisbury Court through the 1630s (Bentley, 1.404-5, 451). On the strength of that, it might be identified as a play belonging to the Heton-era Queen Henrietta's Men at Salisbury Court.
Firstly, it is worth noting that Herbert's lost record of The Parricide can now be studied in two independent transcriptions (recorded above), thanks to N.W. Bawcutt's rediscovery of the Burn transcript from Herbert's Office-Book. Secondly, almost nothing is known of the play. Nicol offers a detailed chronological reconstruction of the known repertory of Prince Charles's Men within which this play fits.
Given its title, it is hard to see The Parricide as having been anything other than a tragedy. The frame of reference, of course, need not have been Moorish like Revenge for Honour: an EEBO search for "parricide", which returns 1,759 hits, demonstrates something of the wide range of possible father-murders that the play could have dramatized.
Nicol, David. "The Repertory of Prince Charles’s (I) Company, 1608-1625".
Page written and maintained by Matthew Steggle: last updated 10 May 2010.