2. John Ford (1586 – 1640) is often considered
to be the last of the great Renaissance
dramatists.
‘Tis Pity She’s a Whore is his most famous
work, bringing him much critical acclaim.
Based on the story of the incestuous
relationship between Annabella and her
brother Giovanni, it incorporates many
features of a Jacobean tragedy, though it was
written when Charles I was on the throne.
3. The play is noted for its dark, macabre tone
and celebrated for the strikingly dramatic and
bloody conclusion, but its real strength lies in
its challenging presentation of the couple.
Ford presents the lovers in a compassionate
manner and at times seems keen to engage
the audience’s sympathies even though their
relationship, in either his own society or
modern ones, would be considered illegal and
unhealthy (unless you’re Annabelle).
4. This sympathy often stems from comparisons
with other characters in the play as it seems
that nobody is free from guilt and those we
would expect to be most virtuous (religious
figures etc) are shown to be the most corrupt.
In the extract, the function of which is to first
introduce the relationship between the two
lovers, we are led to empathize with their
plight as they wrestle with their illicit
emotions.
5. There is a sense of despair here and the
repetition makes the line like a lament.
This immediately engages the audience and
creates sympathy for the character.
6. The repetition of the personal pronoun
indicates that Giovanni acknowledges some
responsibility as well as blaming the fates,
but the vocabulary is dark, suggesting the
inevitability of tragic consequences for the
relationship.
7. The cyclical nature of these lines reflects
Giovanni’s confusion and distress. The contrast
between strive and love, coupled with the
reference to a loss of hope, is also striking, as it is
usually thought that love should by contrast
bring pleasure and optimism.
This illustrates the doomed nature of the
relationship and shows how aware he is of his
and his sister’s likely fate. Again, Ford is creating
sympathy for the lovesick Giovanni.
8. Giovanni is conscious of his destiny.
The audience will be expecting a dark
conclusion to the tragedy.
9. The use of phrases associated with illness
suggests that his passion is something
natural and uncontrollable.
10. The phrase is again associated with
hopelessness.
11. Beginning the line with ‘O’ adds to the sense
that this is a soliloquy of lament.
12. Ford establishes an extended metaphor here,
comparing the relationship with religious
images. This serves two purposes: first, it
makes the audience aware that Giovanni
considers the relationship to be something
beautiful and worthy of admiration; second,
it reminds us of the fact that the lovers will be
punished not only on earth by God too, a
theme central to the play as a whole.
13. The verb wearied echoes the frustration that
has been established. The fact that Giovanni
is turning to God again reflects the religious
theme of the play and could create sympathy.
14. How might this natural image affect the
audience’s view of Giovanni?
15. Phrases associated with hunger suggest his
sexual appetite, and also link to the image of
the spring earlier, suggesting his love is
natural and uncontrollable.
16. The juxtaposition of young and old here
reminds us of Giovanni’s impulsive
youthfulness, and the premodifier unsteady
adds to this.
The contrast also illustrates the young love
being condemned by the elders and old rules.
17. This second reference to fate not only
suggests that it is destiny that is driving the
lovers together but argues that Giovanni’s
feelings are not driven solely by his sexual
desires.
18. This stark and direct statement creates a
sense of anticipation as the audience await
his revelation. How does this impact on our
view of the lovers?
19. The reference to monetary value reminds us
of the price of love.
20. The exclamation reflects Giovanni’s
excitement but also fear of what he is about
to do.
21. This aside illustrates Giovanni’s anxiety but
also creates sense of anticipation.
22. The simple exchange emphasizes their
relationship as that of brother and sister as
well as, once again, developing the
relationship between the couple and the
audience.
23. Again referring to their love as a sickness, and
suggesting that his suffering is physical as
well as emotional.
24. This can be seen as an uncomplicated,
beautiful meeting of brother and sister,
walking hand in hand.
The audience is therefore able to develop a
bond with them prior to the revelation of
their incest later in the play.
