The Changeling

by Thomas Middleton

Thomas Middleton (1580-1627), a bricklayer's son, rose to become one of the most eminent playwrights of the Jacobean period. Along with Ben Johnson he helped shape the dynamic course of drama in Renaissance England. His range is broad, as his work successfully covers comedy, tragedy, and history. Praised during his life as well as today, Middleton remains relevant and influential. "The Changeling" (1630) was composed with the aid of Middleton's friend William Rowley, also an established playwright. The drama tells of the destructive powers of vice and lust. Beatrice-Joanna is a young woman betrothed to Alonzo de Piracquo, yet Beatrice-Joanna is truly in love with another—the nobleman Alsemero. Beatrice-Joanna uses manipulative and violent means to rid herself of her suitor Alsemero. The ensuing drama results in a catastrophic tragedy, leaving only a few to contemplate justice and passion. The characters, style, and action of "The Changeling" effortlessly come together, making it one of the greatest tragedies of its time.

Genres: Plays, Classics, Drama, Theatre, Fiction, School, Renaissance

72 pages, Kindle Edition

First published January 1, 1622

About the author

Thomas Middleton (1580 – 1627) was an English Jacobean playwright and poet. Middleton stands with John Fletcher and Ben Jonson as among the most successful and prolific of playwrights who wrote their best plays during the Jacobean period. He was one of the few Renaissance dramatists to achieve equal success in comedy and tragedy. Also a prolific writer of masques and pageants, he remains one of the most noteworthy and distinctive of Jacobean dramatists.

Reviews

[Esdaile · Rating 4 out of 5]

It is noteworthy and inspiring that the English drama of Shakespeare's contemporaries and the generation which succeeded him until 1641 has witnessed an upsurge in popularity in the last 30 years and never more than in these early years of this twenty-first century, with a theatre next to the Globe in London specialising in such drama. Perhaps, as someone suggested, the English plays of this period speak to an audience of our times more readily than to readers or theatre goers of the nineteenth and eighteenth centuries. Contemporary readers and theatre goers probably feel more empathy for the pessimism and crude cyncicism of the seventeeth century than would the mannered observors of manners of the eighteenth century or the romantics and religious revivialists of the nineteenth. I have now twice seen Middleton and Rowley's The Changeling. As in the tragedies of Webster and Tourneur, the grotesque, farcical and tragic are interwoven. Put simply, it is hard to know to what extent the tragic in "The Changeling" (and this can be said too of the plays of Webster and Tourneur and Midleton's other tragedies) is meant to be taken seriously. Taken seriously, we lose the comic effect, taken as comic, the intrinsic unpleasantness of the story and the events and the psychology of the two principle protagonists wipes the smile from our face and leaves us uncomfortably wondering what the matter is with us that we find all this bizarre skulduggery entertaining. Dominic Dromgoole's production in the Globe in 2015 did not attempt to resolve the dilemma (is it possible to do so?) but stressed the ludicrous and farcical elements of the play and revelled in them. Seeing the play for the second time, I was struck even more forcibly than the first time with the extent to which the writer(s) were influenced by Shakespeare and especially Othello, whose lines are echoed throughout the play, and also by Webster. Beatrice Joanna is Desdemona had Desdemona been the adultress of Othello's desperate imagination; Beatrice is the very thing which Othello wrongly imagines Desdemona to have been. In other respects Desdemona and Beatrice are similar, in position, class and I am tempted to say character, at least in terms of their impulsive reaction to events which run out of their control. Beatrice employs Deflores (the name alone tells us that the authors will not allow us to take this play entirely seriously even if we wish to), a depraved Iago-Roderigo character to murder the man she does not want to marry in order to make the way clear for the man whom she does want to marry, at the price, as she with apparently unwitting irony puts it, of of her "honour". "Gothicy camp" is how a Time Out critic described the Dromgoole production, which is apt, but the bitterness of the underlying tale provides the play with more substance than many, including the Time Out theatre critic, seem to allow. There is an underlying resentment at the superficiality and barenness of wantoness, a puritan rejection of pleasure, a critique of the Latin style Spanish style court and intrigue, which it may not be fanciful to suggest, points the way to the Puritan revolution of 1641. Is this an explanation for the rift which underlies all Middleton's tragedies, I mean the rift between the enjoyment, the relishing of presenting human folly (Deflores is a villain but a comic villain) for our entertainment and laughter, and literally in this play as in the Duchess of Malfi through the presentation of Bedlam, parallel with the deadly serious Biblical injunction to "mend your ways" "shun sin" and to know that "summum peccati mors est"... the doomed Deflores and Beatrice die together at the end of this sordid but entertaining tale of lust, murder and chicanery, united in death in a cruel parody of Romeo and Juliet. Even the final words of the play record Shakespearean comedy, the final resolution, the completion of the circle. De Flores reveals
"I coupled with your mate at barley break; now we are left at hell." and that he earned love out of murder.
This is neither entirely successful comedy nor entirely successful tragedy but it is successful literature and a fine piece of Jacobean drama, grotesque, threatening, hilarious, crude but never vulgar, and whatever its flaws and however excessive its parodying, fine theatre.

[Kelly · Rating 2 out of 5]

The main story was ok but the sub plot was a bit pointless plus there was so much sexual innuendo it started to really do my head in. A bit disappointing.

[Rachel · Rating 5 out of 5]

Probably the best Jacobean tragedy ever written! Going to direct it for Caffeine Theatre next season. Yay!

[Willow · Rating 5 out of 5]

This was fabulously dark! The secondary plot in the madhouse is excellent and I really enjoyed the relationship between Deflores and Beatrice (even if it was creepy). A lot can be said on feminism, morality, and sex. Lots of sex.

[Laura · Rating 3 out of 5]

Next on:
Sunday, 20:00 on BBC Radio 3

SynopsisA new radio production of Thomas Middleton and William Rowley's Jacobean classic, set in Alicante, Spain, in the 1920s.

Beatrice-Joanna is due to marry Alonzo e Piracquo, until she falls in love with Alsemero and seeks the help of her father's man, De Flores.

Beatrice-Joanna ...... Anna Madeley
De Flores ...... Zubin Varla
Vermandero ...... Nicky Henson
Tomazo de Piracquo ...... Alex Hassell
Alonzo de Piracquo ...... Alex Blake
Alsemero ...... Simon Muller
Jasperino ...... Nigel Hastings
Diaphanta ...... Liz Richardson
Isabella ...... Catherine Bailey
Alibius ...... Philip Fox
Lollio ...... Stephen Hogan
Antonio ...... Piers Wehner
Franciscus ...... Joseph Cohen-Cole
Pedro ...... Rhys Jennings

Directed and adapted for radio by Jeremy Mortimer.

[Amy · Rating 4 out of 5]

I love this play, having studied it when I was studying it for A levels. For me it is more accessible than Shakespeare, and I think De Flores is one of all my all time favourite villains - he's so incredibly crude, creepy and unpleasant and yet there are times when I still feel sorry for him. My only criticism is that I find the subplot too literally mirrors the main plot so that it feels repetitious.

[Stephen Kelly · Rating 4 out of 5]

THE CHANGELING, to borrow an idea introduced to me by Lars Engle, is a female version of MACBETH. Whereas Macbeth is to some extent influenced by supernatural interlopers and his own ambitious wife, Beatrice in this strange tragedy by Thomas Middleton and William Rowley is master of her own ill-conceived and fatal attempts to engineer the life she imagines she deserves. Evil deeds beget more evil deeds, and soon she must abandon all pretenses of the beautiful, innocent, and respectable gentlewoman she once presumed to be. Middleton and Rowley’s interesting twist on Macbeth is the addition of De Flores, a scary yet sympathetic servant who executes Beatrice’s crimes out of a self-loathing devotion to her beauty and prestige. De Flores, helplessly ugly, servile, and hopeless, is nevertheless a man of great insight and foresight, which makes him an interesting accomplice to his powerful yet nearsighted mistress. His triumph over her is both gratifying and deeply horrifying.

THE CHANGELING is an interesting and bizarre play, with a “comic” subplot involving madmen and fools (I’m not quite sure what the distinction is) in a private asylum run by a physically abusive profiteer. The subplot is baffling and incomplete, but it adds a distinct flavor to a play about inversions, deceptions, and descents into madness.

[Katie · Rating 4 out of 5]

I really enjoyed this play; complex characters, interesting look at the concepts of love and revenge.

[Whitney · Rating 3 out of 5]

~3.0~

“'She that in life and love refuses me, in death and shame my partner she shall be.'”

read this for british literary history...
I honestly have no idea what I just read.

[Mics · Rating 2 out of 5]

Yeah yeah yeah its a cornerstone of literature and the first of it’s kind I get it, I really do but *time and place*!! Seriously, De Flores just chill. These characters needed to touch some grass.

[maia · Rating 3 out of 5]

it was ok. definitely very suspenseful and great use of wordplay, but thematically i found it boring and somewhat limited

[bri]

gonna have to process this one I think

[laura · Rating 3 out of 5]

funnier than i thought it would be tbh also i liked all the blasé deaths

[Yazmin Taliya · Rating 4 out of 5]

3.5🌟

[Veru · Rating 2 out of 5]

I feel like I have read and heard a lot about this play, but either everything I read and heard was wrong or I didn’t remember it correctly... for one, judging from the title, I expected a changeling (as in child) and maybe a witchy plot... but nope, neither happened really.

The play itself was super boring and I had a very hard time getting through it since nothing new or exciting even happened. At least the deaths in the end I had hope to be a little more excting, but nope, not the case... I read the mention of a masque and expected a Women Beware Women-esque ending with drama and confusion and theatricality, but it was just plain boring and I was disappointed.

The only somewhat interesting things which deserve taking a closer look at in this play are the perception of deformity and the focus on a lover’s flaws, since both of these were recurring elements that I noticed quite a lot.

The madhouse storyline was more or less pointless, though it did work as a foil of the main storyline, but also there was no resolution, I felt? Furthermore, I know I shouldn’t judge plays by some of their aspects which were common at the point, but some things in this play are just horrifying from a modern perspective.

Even so, the action was boring, uncreative and the language not as nice as in other plays so that it was hard to realise what was going on in some places. I’m sorry, Middleton and Rowley, I truly am.

[Kirsten · Rating 2 out of 5]

Beatrice soll Alonzo heiraten. Doch sie ist in Alsemero verliebt. Gemeinsam mit ihrem Diener Deflores schmiedet sie einen Plan. Er soll Alonzo für sie töten. Doch als sie ihn für seine Tat bezahlen will, fordert er einen ganz anderen Preis als den ausgemachten.

Obwohl der Plan aufgeht, findet Beatrice letztendlich kein Glück. Dass das ganze nicht gut ausgehen kann, war von Anfang an klar. Wie zivilisiert allerdings gestorben wird, hat mich doch überrascht. Beatrice nimmt ihr Schicksal hin. Bereut sie den Mord, oder hofft sie, im Tod mit dem geliebten Mann wieder vereint zu sein?

Wieder einmal hat Thomas Middleton mit den Namen gespielt. Dass ausgerechnet ein Mann namens Deflores Beatrice entjungfert, hat etwas. Da würde mich interessieren, wie diese Anspielung im 17. Jahrhundert angekommen ist.

Es ist ein Stück, das ich lieber gesehen als nur gelesen hätte. So wortstark die Dialoge auch sind, fehlt ihnen doch das Leben. Ich hätte gerne die Reaktion von Beatrice gesehen, als Deflores ihr sagt, welchen Preis er wirklich für den Mord an Alonzo fordert. Auch wie er sie überredet, doch zu "bezahlen", hätte ich lieber gesehen als nur gelesen.

[Ana · Rating 3 out of 5]

This is my second venture into the world of Middleton after reading 'The Revenger's Tragedy', with the much anticipated 'Women Beware Women' still to come. I wouldn't recommend trying to engage with early modern drama whilst a.) In the post-Christmas limbo sludge and b.) Battling the remnants of a stubborn flu.

I don't have much to say other than I found it 'Okay'. There were interesting components throughout both plots, such as the elements of blindness, disguise and deception. I also enjoyed the finger cutting, which was very gory-comic. Aside from that, I wasn't compelled by the closet shenanigans nor did I feel any particular way about Beatrice's suitors. It's difficult to write this review because I'm somewhat apathetic to it, which is a shame because Middleton is a great dramatist. Maybe it deserves a revisit in the New Year.

[Sarah Werkmeister]

Read for class- needed to watch a performance bc I was lowkey lost (thank you Hugh grant) but this was fun! I love non-Shakespeare plays they’re wild and I never know what’s gonna happen (don’t mind me all logging these at once bc I forgot)

[hafsah · Rating 3 out of 5]

This was very bizarre and unusual at times. But overall pretty decent, not my favourite revenge tragedy. But im glad I read it.

[king bitchard 💜 · Rating 2 out of 5]

bad

[Jazzy Lemon · Rating 5 out of 5]

It had its moments - all good ones.

[suna · Rating 3 out of 5]

i’m CONFUSED!!!

[Jess Esa · Rating 2 out of 5]

I can’t believe I’m going to be spending the next month with this play. It definitely makes you appreciate Shakespeare more. Justice for Isabella.

[Hal · Rating 4 out of 5]

Yes this play is nasty and violent. Yes it is freaky and sexual in moments that it really should not be. But, it is in fact also compelling for all those reasons.

[Cloclo · Rating 4 out of 5]

C’était une bonne lecture, l’histoire est grave prenante même si le sexisme a mal vieilli mais bon c’est l’époque so-
Juste pas trop capté la DA du sub-plot avec les fous et les idiots genre je m’attendais à ce que les perso aient une influence sur l’histoire ou même une conclusion ?? Nope , enfin si mais bâclé quoi

Bref ptite morale du mauvais karma au final 🙂‍↕️

[Rachel · Rating 3 out of 5]

The scene with the finger and the ring is the best one.

This taught me to be glad I am not a Renaissance woman.

[Marti Martinson · Rating 2 out of 5]

Sex, murder, and a mad house. You'd think it would be more interesting. The last scene was the best. I do think I'd rather WATCH this than read it.

[Sarah · Rating 3 out of 5]

A re-read before seeing a performance of it. Trademark Middleton focus on sex and power and honour. Beatrice-Joanna is one of the most complex women in early modern drama - at once hopelessly naive, and then turns on a dime and becomes worldly and terrifyingly ruthless. DeFlores, likewise, is the villain certainly, but also convincing in his desperate obsession for Beatrice-Joanna and his earnest (but murderous) desire for her love. The psychology of these two and the ways they play off each other (and the potential for staging it) is endlessly compelling.

The subplot is a total mess and the ending of the play is kinda just thrown together, but the fascinating main characters make this worth reading - and seeing in performance. It's a deliciously fucked up play.

(Also, does no one ever blame Beatrice-Joanna's father for forcing her marry Piracquo, which kicks off the whole murder plot? Renaissance dads are the WORST.)

[The Nutmeg · Rating 4 out of 5]

You could've told me this was Shakespeare and I would've believed you, cuz if the language and the (often very very bawdy) wit. But it would've been my new least-favorite Shakespeare, cuz of the...awfulness of almost EVERYBODY.

[Keith · Rating 3 out of 5]

The most interesting part of the play -- rife with murder, adultery, ghosts, and an insane asylum -- is the relationship between the beautiful Beatrice and the wretchedly ugly De Flores. Her supercilious manner and his deprecating neediness at the beginning evolve into his assertion of himself and her emotional decay (and love for De Flores).

But these insights are fleeting as we’re presented an moderately entertaining story of murder and adultery, with a vaguely connected subplot about a man pretending to be insane so he can seduce the asylum operator’s wife. (Only at the very end are these two stories connected, and only by the thinnest thread. Yes, many a PhD student has sweated over justifying the connection of these two plots, but as they say in politics, if you're explaining, you're losing. They simply don't make sense together and audiences have known that viscerally since it first hit the stage.)

The ending itself is an unsatisfying deus ex machina with Beatrice’s sudden confession to her husband coming out of nowhere. And then there is the tenuous connection between the two plots.

All of that aside, there is a kernal of a story here that makes the play worth reading, and the verse is quite good. If you like verse drama, I recommend this memorable work.