I hope it is not too late to post this…

I did not like this play at all, Revenge Tragedy say you?!  Where are all of the Revenger’s?  Where is the Betrayal?? The Blood??? Annabella and Giovanni had absolutley no revengle plot, and were totally lovey dovey for the entire play.  I did like the part where Giovanni literally had Annabella’s heart, on a dagger though, but had her heart nonetheless, it was very Vindice of him.   The one man who had is Revenge was bad boy Vasquez, and even he lacked the spark to create the bloodbath I was waiting for when this play came to a close.  On another note, I would never call Annabella a whore, maybe a coward but not a whore.  She married Soranzo at the drop of a dime to save her in the after life, which leaves me asking, what happened to all that ‘If I cannot love you, kill me brother stuff” she said earlier to dear Giovanni.

While I was reading ‘Tis Pity She’s a Whore, I noticed the lack of a substantial father-son relationship between Florio and Giovanni, especially compared with the relationship between the Friar and Giovanni. It seems that Giovanni is withdrawn from a meaningful relationship with Florio and has replaced his father figure with the Friar.

Throughout the entire play, Giovanni does not refer to Florio as “Father,” until Act V, when he has fully disregarded the rules of society through incest, blasphemy, greed, and murder. At this point, it seems his potential resentment for his father has been relieved—there is nothing more to hide, and he has admitted to ruining his family and Florio’s hope for an heir. Earlier, in Act III Scene IV, Giovanni distantly addresses his father as “sir.” Florio consistently refers to Giovanni as “son,” or “my son,” but Giovanni does not reciprocate the familiarity. During the final scene of the play, Giovanni refers to Florio as “Father” five times, but this does not seem to imply respect. He also says, “… How much I have deserved to be your son,” playing on the duality of biological son and son-in-law. Speaking of Annabella, he calls himself “A happy monarch of her heart and her,” which seems to further challenge Florio’s role as father. After Florio’s death, Giovanni’s commentary from lines 64-68 seems heartless and maybe even sarcastic.

Giovanni addresses the Friar as “Father” far more frequently and respectfully than he addresses Florio. Of course, the Friar is commonly referred to as “Father” due to his position within the church, but there seems to be more to it than that. Most conversations between Giovanni and the Friar are filled with words like “gentle father,” “my father,” “fair son,” and “my son.” Also, the Friar served as Giovanni’s tutor, and he was far more devoted to Giovanni as a person than the average tutor to a student. In Act I Scene I, he says, “I was proud of my tutelage, and chose rather to leave my books than part with thee. I did so, but the fruits of all my hopes are lost in thee, as thou art in thyself.” The Friar’s extreme commitment to Giovanni as his student, along with his heartfelt disappointment at Giovanni’s wrongdoings, implies a deeper, seemingly paternal bond.

I have trouble believing that Giovanni would so consistently address the Friar as “Father” in a strictly religious respect. Giovanni does not truly adhere to Catholicism at any point during the play. He even ventures to tell the Friar, “The hell you oft have prompted is naught else but slavish and fond superstitious fear; and I could prove it too. (5.3.19-21)” He challenges religion constantly, refusing to repent despite the Friar’s relentless efforts. He lies to Annabella, saying that the church has granted permission for their love (1.2.241), he continues to sin by participating in the incestuous affair after Annabella has married, he refuses to believe in heaven or hell for lack of proof (5.5.33), and he thanks Vasques for killing him so he wouldn’t have to do it himself (5.6.100). He even associates religion with sorcery (5.3.27).

All of this combined with Giovanni’s polytheistic references (1.1.21-24) and his references to love as an object of worship, even a god, make it clear that Giovanni is in no sense a religious man. Thus, his strict adherence to calling the Friar “Father,” and their intimate relationship contrasts with Giovanni’s relationship with Florio and seems more paternal.

In John Ford’s ‘Tis Pity She’s a Whore, why does Putana so easily surrender the truth to Soranzo’s lowly assistant? This is a woman who has a lifetime of experience in using her sexuality to control men. Certainly, after all those years, she has developed more common sense than to allow a patronizing servant to get the better of her! “Heaven forgive us!” cries Putana when Vasques warns her of Soranzo’s forthcoming wrath. How quickly is she tricked into confessing the truth of Annabella and Giovanni’s incestuous relationship. Perhaps my modern day concept of a whore corrupts my opinion of Putana. To me, whores are hardened, distrustful, bold and unafraid. Throughout the play, Ford treats us to Putana’s recognizably whorish traits—she endorses incest, premarital sex and secrets of the heart. Then, when the character of a whore really counts, she falters! Putana is stupid and disappointing to whores everywhere—from early England to late Now. –Christopher Stoddard