Titlebook: Webster: The Tragedies; The Tragedies Kate Aughterson Textbook 2001Latest edition The Editor(s) (if applicable) and The Author(s) 2001 dram

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Introductionogy. Nevertheless, when we read a four-hundredyears-old play, the verbal, literary and social conventions to which it adheres are necessarily alien to us. So, before we plunge into the play, it is useful to outline some of the analytical terms which we shall be using in our analyses in this book. Th

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Endingsll the emotions, plot-lines, conflicts and themes in a final show-down. The nature of the show-down (who dies, who is married, who feasts and who does not) tells us much about the play’s dramatic intent. Does the ending resolve conflict or perpetuate it? Is the ending idealistic, if so why is this?

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Turning Pointshurtle towards their finale. Webster’s tragedies are no exception, and a good understanding of his pivotal scenes helps us see, feel and understand the crises which lead to the final tragic moments we discussed in Chapter 2.

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Turning Pointshurtle towards their finale. Webster’s tragedies are no exception, and a good understanding of his pivotal scenes helps us see, feel and understand the crises which lead to the final tragic moments we discussed in Chapter 2.

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Heroes and Villainshe imagination of an audience as do Bosola or Ferdinand, and he lacks a hero’s independence. No single male character has the central dramatic status of his heroines, nor the interior monologues of Shakespeare’s tragic heroes. What is the function of Webster’s male heroes? Are they flawed tragic ind