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	Thomas Middleton

	
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		16th/17th-century English playwright and poet

This article is about the playwright. For other uses, see Thomas Middleton (disambiguation).





  
Thomas Middleton, depicted in the frontispiece of Two New Plays, a 1657 edition of Women Beware Women and More Dissemblers Besides Women



Thomas Middleton (baptised 18 April 1580 – July 1627; also spelled Midleton) was an English Jacobean playwright and poet. He, along with John Fletcher and Ben Jonson, was among the most successful and prolific of the playwrights at work in the Jacobean period. Middleton was among the few to achieve equal success in comedy and tragedy. He was also a prolific writer of masques and pageants.


Contents


	1 Life
	2 Death
	3 Works
	4 Reputation
	4.1 Plays
	4.2 Other stage works
	4.3 Poetry
	4.4 Prose



	5 Notes
	6 References
	7 External links





Life[edit]

Middleton was born in London and baptised on 18 April 1580. He was the son of a bricklayer, who had raised himself to the status of a gentleman and owned property adjoining the Curtain Theatre in Shoreditch. Middleton was five when his father died and his mother's subsequent remarriage dissolved into a 15-year battle over the inheritance of Thomas and his younger sister – an experience that informed him about the legal system and may have incited his repeated satire against the legal profession.

Middleton attended The Queen's College, Oxford, matriculating in 1598, but he did not graduate. Before he left Oxford sometime in 1600 or 1601,[1] he wrote and published three long poems in popular Elizabethan styles. None of them appears to have been especially successful, and one, his book of satires, ran foul of an Anglican church ban on verse satire and was burned. Nevertheless, his literary career was launched.

In the early 17th century, Middleton made a living writing topical pamphlets, including one – Penniless Parliament of Threadbare Poets – that was reprinted several times and became the subject of a parliamentary inquiry. At the same time, records in the diary of Philip Henslowe show that Middleton was writing for the Admiral's Men. Unlike Shakespeare, Middleton remained a free agent, able to write for whichever company hired him. His early dramatic career was marked by controversy. His friendship with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the War of the Theatres. The grudge against Jonson continued as late as 1626, when Jonson's play The Staple of News indulges in a slur on Middleton's great success, A Game at Chess.[2] It has been argued that Middleton's Inner Temple Masque (1619) sneers at Jonson (then absent in Scotland) as a "silenced bricklayer".[3]

In 1603, Middleton married. In the same year an outbreak of the plague forced the London theatres to close, while James I came to the English throne. These events marked the beginning of Middleton's greatest period as a playwright. Having passed the time during the plague composing prose pamphlets (including a continuation of Thomas Nashe's Pierce Penniless), he returned to drama with great energy, producing almost a score of plays for several companies and in several genres, notably city comedy and revenge tragedy. He continued to collaborate with Dekker: the two produced The Roaring Girl, a biography of the contemporary thief Mary Frith.

In the 1610s, Middleton began a fruitful collaboration with the actor William Rowley, producing Wit at Several Weapons and A Fair Quarrel. Working alone in 1613, Middleton produced a comic masterpiece: A Chaste Maid in Cheapside. Meanwhile he became increasingly involved with civic pageants. This became official in 1620, when he was appointed chronologist to the City of London, a post he held until his death in 1627, when it passed to Jonson.

Such official duties did not interrupt Middleton's dramatic writing; the 1620s saw the production of his and Rowley's tragedy The Changeling, and of several tragicomedies. In 1624, he reached a peak of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. The play used the conceit of a chess game to present and satirise the recent intrigues surrounding the Spanish Match. Though Middleton's approach was strongly patriotic, the Privy Council silenced the play after nine performances, having received a complaint from the Spanish Ambassador. Middleton faced an unknown, probably frightening degree of punishment. Since no play later than A Game at Chess is recorded, it has been suggested that the sentence included a ban on writing for the stage.


Death[edit]

Middleton died at his home at Newington Butts in Southwark in 1627, and was buried on 4 July in St Mary's churchyard.[4] The old church of St Mary's was demolished in 1876 for road-widening. Its replacement elsewhere in Kennington Park Road was destroyed in the Second World War, but rebuilt in 1958. The old churchyard where Middleton was buried survives as a public park in Elephant and Castle.


Works[edit]

Middleton wrote in many genres, including tragedy, history and city comedy. His best-known plays are the tragedies The Changeling (with William Rowley) and Women Beware Women, and the cynically satirical city comedy A Chaste Maid in Cheapside. Earlier editions of The Revenger's Tragedy attributed the play to Cyril Tourneur,[5] or refused to arbitrate between Middleton and Tourneur.[6] However, since the statistical studies by David Lake[7] and MacDonald P. Jackson,[8] Middleton's authorship has not been seriously contested, and no further scholar has defended the Tourneur attribution.[9] The Oxford Middleton and its companion piece, Thomas Middleton and Early Modern Textual Culture, offer extensive evidence both for Middleton's authorship of The Revenger's Tragedy, for his collaboration with Shakespeare on Timon of Athens, and for his adaptation and revision of Shakespeare's Macbeth and Measure for Measure. It has also been argued that Middleton collaborated with Shakespeare on All's Well That Ends Well.[10][11] However, these latter collaborative attributions are not universally accepted by scholars.

Middleton's work is diverse even by the standards of his age. He did not have the kind of official relationship with a particular company that Shakespeare or Fletcher had. Instead he appears to have written on a freelance basis for any number of companies. His output ranges from the "snarling" satire of Michaelmas Term (performed by the Children of Paul's) to the bleak intrigues of The Revenger's Tragedy (performed by the King's Men). His early work was informed by the flourishing of satire in the late Elizabethan period,[12] while his maturity was influenced by the ascendancy of Fletcherian tragicomedy. His later work, in which his satirical fury is tempered and broadened, includes three of his acknowledged masterpieces. A Chaste Maid in Cheapside, produced by the Lady Elizabeth's Men, skilfully combines London life with an expansive view of the power of love to effect reconciliation. The Changeling, a late tragedy, returns Middleton to an Italianate setting like that of The Revenger's Tragedy, except that here the central characters are more fully drawn and more compelling as individuals.[13] Similar development can be seen in Women Beware Women.[14]

Middleton's plays are marked by often amusingly presented cynicism about the human race. True heroes are a rarity: almost every character is selfish, greedy and self-absorbed. A Chaste Maid in Cheapside offers a panoramic view of a London populated entirely by sinners, in which no social rank goes unsatirised. In the tragedies Women Beware Women and The Revenger's Tragedy, amoral Italian courtiers endlessly plot against each other, resulting in a climactic bloodbath. When Middleton does portray good people, the characters have small roles and are shown as flawless.

Due to a theological pamphlet attributed to him, Middleton is thought by some to have been a strong believer in Calvinism.


Reputation[edit]

Middleton's work has long been praised by literary critics, among them Algernon Charles Swinburne and T. S. Eliot. The latter thought Middleton was second only to Shakespeare.[15]

Middleton's plays were staged throughout the 20th century and into the 21st, each decade offering more productions than the last. Even some less familiar works of his have been staged: A Fair Quarrel at the National Theatre, and The Old Law by the Royal Shakespeare Company. The Changeling has been adapted for film several times. The tragedy Women Beware Women remains a stage favourite. The Revenger's Tragedy was adapted for Alex Cox's film Revengers Tragedy, the opening credits of which attribute the play's authorship to Middleton.


Plays[edit]

	The Phoenix (1603–1604)
	The Honest Whore, Part 1, a city comedy (1604), co-written with Thomas Dekker
	Michaelmas Term, a city comedy, (1604)
	All's Well That Ends Well (1604–5); a Shakespeare play believed by some scholars to be co-written with Middleton, based on stylometric analysis
	A Trick to Catch the Old One, a city comedy (1605)
	A Mad World, My Masters, a city comedy (1605)
	A Yorkshire Tragedy, a one-act tragedy (1605); attributed to Shakespeare on its title page, but stylistic analysis favours Middleton.
	Timon of Athens a tragedy (1605–1606); stylistic analysis indicates that Middleton may have written this play in collaboration with Shakespeare.
	The Puritan (1606)
	The Revenger's Tragedy (1606). Earlier editions often attribute authorship to Cyril Tourneur.
	Your Five Gallants, a city comedy (1607)
	The Bloody Banquet (1608–1609); co-written with Dekker
	The Roaring Girl, a city comedy depicting the exploits of Mary Frith (1611); co-written with Dekker
	No Wit, No Help Like a Woman's, a tragicomedy (1611)
	The Second Maiden's Tragedy, a tragedy (1611); an anonymous manuscript; stylistic analysis indicates Middleton's authorship (though one scholar, Charles Hamilton, has attributed it to Shakespeare. See The History of Cardenio for details).
	A Chaste Maid in Cheapside, a city comedy (1613)
	Wit at Several Weapons, a city comedy (1613); printed as part of the Beaumont and Fletcher Folio, but stylistic analysis indicates comprehensive revision by Middleton and William Rowley.
	More Dissemblers Besides Women, a tragicomedy (1614)
	The Widow (1615–16)
	The Witch, a tragicomedy (1616)
	A Fair Quarrel, a tragicomedy (1616). Co-written with Rowley
	The Old Law, a tragicomedy (1618–19). Co-written with Rowley and perhaps a third collaborator, who may have been Philip Massinger or Thomas Heywood.
	Hengist, King of Kent, or The Mayor of Quinborough, a tragedy (1620)
	Women Beware Women, a tragedy (1621)
	Measure for Measure (1603–4); some scholars argue that the First Folio text was partly revised by Middleton in 1621.
	Anything for a Quiet Life, a city comedy (1621). Co-written with John Webster
	The Changeling, a tragedy (1622). Co-written with Rowley
	The Nice Valour (1622). Printed as part of the Beaumont and Fletcher folio, but stylistic analysis indicates comprehensive revision by Middleton.
	The Spanish Gypsy, a tragicomedy (1623). Believed to be a play by Middleton and Rowley, revised by Thomas Dekker and John Ford.
	A Game at Chess, a political satire (1624). Satirized the negotiations over the proposed marriage of Prince Charles, son of James I of England, with the Spanish princess. Closed after nine performances.


Other stage works[edit]

	The Whole Royal and Magnificent Entertainment Given to King James Through the City of London (1603–4). Co-written with Dekker , Stephen Harrison and Ben Jonson
	The Manner of his Lordship's Entertainment
	Civitas Amor
	The Triumphs of Truth (1613)
	The Triumphs of Honour and Industry (1617)
	The Masque of Heroes, or, The Inner Temple Masque (1619)
	The Triumphs of Love and Antiquity (1619)
	The World Tossed at Tennis (1620). Co-written with William Rowley.
	Honourable Entertainments (1620–1)
	An Invention (1622)
	The Sun in Aries (1621)
	The Triumphs of Honour and Virtue (1622)
	The Triumphs of Integrity with The Triumphs of the Golden Fleece (1623)
	The Triumphs of Health and Prosperity (1626)


Poetry[edit]

	The Wisdom of Solomon Paraphrased (1597)
	Microcynicon: Six Snarling Satires (1599)
	The Ghost of Lucrece (1600)
	Burbage epitaph (1619)
	Bolles epitaph (1621)
	Duchess of Malfi (commendatory poem) (1623)
	St James (poem)|St James (1623)
	To the King (1624)


Prose[edit]

	The Penniless Parliament of Threadbare Poets (1601)
	News from Gravesend, co-written with Dekker (1603)
	The Nightingale and the Ant (1604), also published as Father Hubbard's Tales
	The Meeting of Gallants at an Ordinary (1604), co-written with Dekker
	Plato's Cap Cast at the Year 1604 (1604)
	The Black Book, Middleton|The Black Book (1604)
	Sir Robert Sherley his Entertainment in Cracovia (1609) (translation).
	The Two Gates of Salvation (1609), or The Marriage of the Old and New Testament
	The Owl's Almanac (1618)
	The Peacemaker (Middleton)|The Peacemaker (1618)


Notes[edit]


	^ Mark Eccles, "Thomas Middleton a Poett", Studies in Philology 54 (1957), pp. 516–536 (p. 525).

	^ "News". Hollowaypages.com.

	^ 
Limon, Jerzey (1994). "A Silenc'st Bricklayer". Notes and Queries. 41: 512.

	^ Thomas Middleton: the Final Decade. Accessed 1 February 2013 Archived 25 May 2013 at the Wayback Machine

	^ Three Jacobean Tragedies (Penguin, 1968) and the Revels edition (Manchester UP, 1975) stated so on the cover, although the Revels editor makes a case for Middleton inside.

	^ The New Mermaids and Revels Student Edition leave open the question of authorship.

	^ The Canon of Middleton's Plays (Cambridge University Press, 1975).

	^ Middleton and Shakespeare: Studies in Attribution (1979).

	^ The play is attributed to Middleton in Jackson's facsimile edition of the 1607 quarto (1983), in Bryan Loughrey and Neil Taylor's edition of Five Middleton Plays (Penguin, 1988), and in Thomas Middleton: The Collected Works (Oxford, 2007).

A summary of the evidence for Middleton's authorship is contained in Thomas Middleton and Early Modern Textual Culture, general editors Gary Taylor and John Lavagnino (Oxford, 2007).

	^ Laurie Maguire and Emma Smith: 'Many Hands – A New Shakespeare Collaboration?' TLS, 19 April 2012. Online: Retrieved 26 April 2012 Archived 23 June 2015 at the Wayback Machine.

	^ 
Coughlan, Sean. "Shakespeare's 'co-author' named by Oxford scholars". BBC News. Retrieved 30 November 2014.

	^ Dorothy M. Farr, Thomas Middleton and the Drama of Realism, New York, Harper and Row, 1973; pp. 9–37.

	^ Farr, pp. 50–71.

	^ Farr, pp. 72–97.

	^ "Thomas Middleton", The Times Literary Supplement, 30 June 1927, pp. 445–446 (unsigned).




References[edit]

	Anthony Covatta, "Thomas Middleton's City Comedies." Lewisburg: Bucknell Univ. Press, 1973
	Barbara Jo Baines, The Lust Motif in the Plays of Thomas Middleton. Salzburg, 1973
	
Eccles, Mark (1933). "Middleton's Birth and Education". Review of English Studies. 7: 431–41.
	J. R. Mulryne, Thomas Middleton 
ISBN 0-582-01266-X
	Pier Paolo Frassinelli, "Realism, Desire, and Reification: Thomas Middleton's A Chaste Maid in Cheapside." Early Modern Literary Studies 8 (2003)
	Kenneth Friedenreich, ed., "Accompaninge the players": Essays Celebrating Thomas Middleton, 1580–1980 
ISBN 0-404-62278-X
	Margot Heinemann. Puritanism and Theatre: Thomas Middleton and Opposition Drama Under the Early Stuarts. Cambridge: Cambridge University Press, 1980
	Herbert Jack Heller. Penitent Brothellers: Grace, Sexuality, and Genre in Thomas Middleton's City Comedies. Cranbury, NJ: Associated University Press, 2000
	Ben Jonson. The Staple of News. London, 1692. Holloway e-text
	Bryan Loughrey and Neil Taylor. "Introduction." In Thomas Middleton, Five Plays. Bryan Loughrey and Neil Taylor, eds. Penguin, 1988
	Jane Milling and Peter Thomson, eds. The Cambridge History of British Theatre. Cambridge: Cambridge University Press, 2004
	Mary Beth Rose. The Expense of Spirit: Love and Sexuality in English Renaissance Drama. Ithaca, NY: Cornell University Press, 1988
	
Schoenbaum, Samuel (1956). "Middleton's Tragicomedies". Modern Philology. 54: 7–19. doi:10.1086/389120.
	Algernon Charles Swinburne. The Age of Shakespeare. New York: Harpers, 1908. Gutenberg e-text
	Ceri Sullivan, 'Thomas Middleton's View of Public Utility', Review of English Studies 58 (2007), pp. 160–74
	Ceri Sullivan, The Rhetoric of Credit. Merchants in Early Modern Writing (Madison/London: Associated University Press, 2002
	Gary Taylor. "Thomas Middleton." Oxford Dictionary of National Biography. Oxford: Oxford University Press, 2004
	Stanley Wells. Select Bibliographical Guides: English Drama, Excluding Shakespeare. Oxford: Oxford University Press, 1975
	The Cambridge History of English and American Literature in 18 Volumes (1907–21). Volume VI. Cambridge: Cambridge University Press, 1907–1921. Bartleby e-text
	The Oxford Middleton Project
	The Plays of Thomas Middleton
	Bilingual editions (English/French) of two Middleton plays by Antoine Ertlé:(A Game at Chess); (The Old Law)


External links[edit]

		Wikisource has original works written by or about:
Thomas Middleton


		Wikiquote has quotations related to: Thomas Middleton


		Wikiversity has learning resources about Collaborative play writing


	Works by or about Thomas Middleton at Internet Archive
	Works by Thomas Middleton at LibriVox (public domain audiobooks) 


		v
	t
	e


Works by Thomas Middleton

	Plays	
	The Phoenix (1603–4)
	The Honest Whore (1604)
	Michaelmas Term (1604)
	A Trick to Catch the Old One (1605)
	A Mad World, My Masters (1605)
	A Yorkshire Tragedy (1605)
	Timon of Athens (1605-6)
	The Puritan (1606)
	The Revenger's Tragedy (1606)
	All's Well That Ends Well (1607-9)
	Your Five Gallants (1607)
	The Bloody Banquet (1608–9)
	The Roaring Girl (1611)
	No Wit, No Help Like a Woman's (1611)
	The Second Maiden's Tragedy (1611)
	A Chaste Maid in Cheapside (1613)
	Wit at Several Weapons (1613)
	More Dissemblers Besides Women (1614)
	The Widow (1615–16)
	The Witch (1616)
	A Fair Quarrel (1616)
	The Old Law (1618–19)
	Hengist, King of Kent (1620)
	Women Beware Women (1621)
	Anything for a Quiet Life (1621)
	Measure for Measure (1621; revision)
	The Changeling (1622)
	The Nice Valour (1622)
	The Spanish Gypsy (1623)
	A Game at Chess (1624)




	Other	
	Microcynicon: Six Snarling Satires (poem, 1599)
	The Triumphs of Truth (pageant, 1613)
	The World Tossed at Tennis (masque, 1620)







	
	v
	t
	e


The "Beaumont and Fletcher" Canon

	
	Francis Beaumont
	John Fletcher
	Philip Massinger


	Nathan Field
	William Shakespeare
	James Shirley
	Thomas Middleton
	William Rowley
	John Ford
	Ben Jonson
	George Chapman
	John Webster




	Plays
(some
attributions
conjectural)	
	Beaumont	
	The Knight of the Burning Pestle
	The Masque of the Inner Temple and Gray's Inn




	Beaumont
and Fletcher	
	The Woman Hater
	Cupid's Revenge
	The Coxcomb
	Philaster
	The Captain
	The Maid's Tragedy
	A King and No King
	Love's Pilgrimage
	The Scornful Lady
	The Noble Gentleman




	Fletcher	
	The Faithful Shepherdess
	The Woman's Prize
	Valentinian
	Bonduca
	Monsieur Thomas
	The Mad Lover
	The Chances
	The Loyal Subject
	Women Pleased
	The Humorous Lieutenant
	The Island Princess
	The Pilgrim
	The Wild Goose Chase
	A Wife for a Month
	Rule a Wife and Have a Wife




	Fletcher and
Massinger	
	†Barnavelt
	The Little French Lawyer
	The False One
	The Double Marriage
	The Custom of the Country
	The Lovers' Progress
	The Spanish Curate
	The Prophetess
	The Sea Voyage
	The Elder Brother
	†A Very Woman




	Fletcher
and others	
	with Beaumont & Massinger
	Thierry and Theodoret
	Beggars' Bush
	Love's Cure
	with Massinger & Field
	The Honest Man's Fortune
	The Queen of Corinth
	The Knight of Malta
	with Field
	Four Plays, or Moral Representations, in One
	with Shakespeare
	†Henry VIII
	The Two Noble Kinsmen
	with Shirley
	The Night Walker
	Wit Without Money
	with Rowley
	The Maid in the Mill
	with Massinger, Chapman & Jonson
	Rollo, Duke of Normandy
	with Massinger, Ford & Webster
	The Fair Maid of the Inn




	Others	
	The Nice Valour (Middleton)
	Wit at Several Weapons (Middleton & Rowley)
	The Laws of Candy (Ford)
	The Coronation (Shirley)







	Performance
and publication	
	English Renaissance theatre
	King's Men
	Beaumont and Fletcher folios
	Humphrey Moseley
	Humphrey Robinson




	Related	
	†The History of Cardenio (Shakespeare & Fletcher?)
	†Double Falsehood (possibly based on Cardenio)




	† = Not published in the Beaumont and Fletcher folios




	Authority control 	
	BIBSYS: 90196701
	BNF: cb12081347t (data)
	CANTIC: a11924342
	GND: 11873380X
	ISNI: 0000 0003 7450 321X
	LCCN: n79054288
	LNB: 000048388
	MBA: f34d2335-a48e-4276-9b99-ebd4b1e30d02
	NDL: 00471618
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	NLK: KAC201322184
	NTA: 070601127
	PLWABN: 9810574685805606
	SELIBR: 321000
	SNAC: w6ht35cw
	SUDOC: 029121191
	Trove: 898477
	VcBA: 495/188741
	VIAF: 292459958
	 WorldCat Identities: lccn-n79054288














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