A New Way to Pay Old Debts
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- PBerggren on Comparison of Prodigal Sons
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Category Archives: A New Way to Pay Old Debts
Comparison of Prodigal Sons
What I first noticed about Wellborn’s character was his description: ‘a prodigal’. The only other time I’ve heard the term ‘prodigal’ is from the Bible passage in the New Testament. Both Wellborn and the unnamed son personify the word ‘prodigal’ in that they squandered away the wealth and inheritance given to them by their fathers. However, that is where the similarities end. The son from the Bible passage returned home to his father in a state of remorse. The most notable point in the parable is that the father doesn’t punish or disown his son, but welcomes him with open arms. Unfortunately, Wellborn did not have this opportunity.
Wellborn’s father had passed away and he didn’t have any other relatives to turn to. His uncle, Overreach wanted nothing to do with him. He had to raise himself up from his own efforts and what is extremely commendable of him was that he didn’t accept the charity of others. If he was to atone for his past mistakes, he wanted to do it honorably. I found this a pleasant surprise after being introduced to him in a negative light by the other characters.
It’s interesting to find such a clear character to root for while in many of the other plays we’ve read, it is not so easy. Even the fact the Overreach was made to act so evil shows the playwrights intention at making transparent characters. Even to the end when Wellborn has gained access to a comfortable lifestyle again, he chooses to serve as a soldier. In both cases, the sons are able to turn over a new leaf. The title brings justice to a another take of a prodigal son, A New Way to Pay Old Debts.
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A Very Modern Character
Before having read even a line of New Way To Pay Old Debts, I was immediately impressed by its title. At least to me, it seemed extremely modern and not unlike titles being created nowadays. Upon reading the play however, it struck me that the title was far from the only thing linking the play with our world at present. In fact, I’m pretty sure if you were to transport character, Giles Overreach, to the New York of today, he’d blend in a bit too seamlessly for comfort. In fact, his voracity for individual ruination would probably be welcomed in certain areas south of Fulton Street.
As a villain, he is scary because he is real; when he is out for you, he robs you blindly with calculation and without pretense. What drives this obsession of his? Perhaps, it is as he says simply the joy he gets from doing so…but even then, you can ask why? And I think for Overreach, it has to do with class and his natural born ‘disadvantage’. Since he himself could never ascend the social order on his own merits, he might as well have amassed a wealth at the cost of everyone else, at the chance that his daughter would one day be able to. Of course this doesn’t excuse any of his actions, but it does at least give some reason as to why he acted as he did; in our world today, with significantly less rigid social strata, such an explanation fails to apply, and yet the Giles still persist.
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Madness – the sign of villainy without the cover of rationality/humanity
At the end of the play, A New Way to Pay Old Debts, the antagonist – the villain – of the play, Sir Giles Overreach goes mad. It reminded me a lot of how at the end of The Duchess of Malfi, the villain of that play (or one of them at least) also goes mad, thinking he is a werewolf.
It seems as if madness, at least in these two plays, serves as the ultimate punishment. But madness also seems to serve as the signal of complete separation from reason, and humanity. Ferdinand in The Duchess of Malfi was already compared to animals through out the play for his villainy, but that final act of betraying his sister and ordering her and her children’s death seems to be the final act that takes away his humanity – and drives him into madness.
(As for Sir Giles Overreach, he’s no peach.) He is ruthless, unfair, merciless, man who has made his fortune through “usury,” who acts very much like the puppet master, and who despite his amassed wealth has not been able to break though the upper echelons of the society – leading to his quest to marry off his daughter into aristocracy. That is his driving force – to have his legacy (progeny) connected with nobility. When that driving force is taken away, when his daughter married a mere page boy, and he loses the estate he cheated Wellborn out of, the string that has been keeping him tethered to rationality and humanity is cut and his depravity takes hold, which without a goal or purpose leads to his madness.
Madness of the villains seems to be the portrayal of a person whose disguise of rationality and humanity is taken away to reveal their inner depravity and villainy.
The Downfall of Giles Overreach
A New Way To Pay Old Debts is a play in which the audience finds themselves truly rooting for the downfall of the bad guy. This is different from some of the other plays we have read as most of the characters are all mixed up in circumstances that lead to terrible deeds being done by a multitude of characters. While A New Way To Pay Old Debts does have its share of bad things being done onto others, there is a clear distinction between who is right and who is wrong. The character of Giles Overreach feels entitled to whatever he sets his eyes on and has no moral limit as to what he will do to get it. In contrast to the characters of Frank Wellborn and Lady Allworth who are aristocrats, Overreach has climbed up the societal ladder through unsavory means. This connects to another major theme in the play, which is how the author portrays differences between the aristocratic class and the working class.
While Wellborn and Lady Allworth were born into money, Overreach lets the audience know fast that he has personally acquired his wealth over the years. However, he is no hard worker having earnestly earned his new status. This is important, because through this character choice, the author creates a clear distinction between social status; that those who are born into money are inherently better, both in morals and intelligence. Although Overreach was able to scam Frank out of his wealth, leaving him nothing but a poor has-been, Wellborn and Lady Alllworth are still able to outsmart him, playing on his own tactics to rob him of his riches. Overreach’s grandiose ambitions and sense of self blind him, making him not susceptible to only Wellborn’s plan, but to Lovell’s plan as well. In the end, we see the crash and burn of Giles Overreach, ultimately being left with the idea that although he was able to acquire a higher social status, he could never make up for what he was lacking on the inside.
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Greed Doesn’t Pay
As we have recently seen in The Changeling, villainous greed is not a successful route to obtain your goals. The same theme is reinforced here by Sir Giles Overreach in A New Way to Pay Old Debts. Massinger’s Overreach makes it known his true colors of extortion and abuse of power; “‘Twas for these good ends/ I made him a justice. He that bribes his belly/ Is certain to command his soul” (2.1.8–10). Going as low as helping his nephew Wellborn relieve himself of all his worth. Overreach goes on to reveal pride that he “value not an atom” of the religious right and wrong, (2.1.26). He creates devious plans to obtain the wealth of those around him concerned only with his position in the end. However, just like Beatrice, all his scheming is for naught. Overreach’s own greed becomes his downfall as he loses to the very people, good people, he planned to sabotage.
Happily, we end the semester with a comedy. One with a valuable lesson. Be weary of the over ambitious ones surrounding you, there is a fine line between ambition and greed. Greedy people will walk all over you if allowed and we should all be aware of them. I am glad to end with a play that didn’t require anyone’s tongue being cut out or children threatened to prove a point. Somehow, this 400 year old play says a lot for what a group of good people can do regardless of the position held by the opposition. Without becoming political, it amazes me how this play points out that if one greedy tyrant is stopped, many other lives can flourish.
Overreach’s Honesty versus Allworth’s Poetry
In A New Way to Pay Old Debts, two characters speak with a similar grandeur, yet with different connotations. One character speaks with confidence and snobbery, while the other lacks such confidence and substitutes it with poetic words. Sir Giles Overreach is pompous, ruthless and honest. He speaks in a shameless way as if he lacks a conscience. “Nay, when my ears are pierced with widows’ cries/ and undone orphans wash with tears my threshold/…Makes me insensible of remorse, or pity/ Or the least sting of conscience,” responds Overreach when questioned whether he is affected by his sinister actions (4.1.125-130). It is a poetic speech, filled with statements of arrogance, but concealed by the grandeur of his words. Each of his speeches have these certain points that give such great insight into the mind of Overreach with statements, such as “I am marble” (4.1.133), or when speaking to Lord Lovell about Lovell’s nobility, “the immaculate whiteness of your fame/ Nor your unquestioned integrity…” (4.1.94-95). His speeches are astounding because they exude so much confidence and are so beautifully worded that it takes a few readings to realize that what Overreach is actually saying is completely awful and brutal.
On the other hand, Tom Allworth lacks that confidence, which was on display during his conversation with Lovell in scene 3.1. Allworth feels that he would be unable to woo his love Margaret if Lovell would ever decide to take up Margaret’s father Sir Overreach’s offer to marry her. Allworth speaks with a desperation, yet the choice of words that he uses is mature and poetic, concealing his insecurities of being a young man without much to offer Margaret. Allworth describes Margaret with illustrations of her beauty, such as “Though mounted high, commanding all beneath it/ And rammed with bullets of her sparkling eyes…” (3.1.62-63), and also “But when the well-tuned accents of her tongue/ Make music to you…” (3.1.66-67). He is trying hard to sound wise beyond his years, making it difficult to read into what he is saying. His lack of confidence is masked by the poetic speech, which emits a sense of overreaching, while the character Overreach does not seem to try so hard with brutal words that illustrate how he truly feels. It is contrasting feature that I found interesting in both characters.
Climbing the Social Ladder, Again
In Philip Massinger’s A New Way to Pay Old Debts, the primary focuses of the play involve class conflict and a tangled marriage between Allworth and Margaret. However, one aspect of the play that I found to be very interesting is the change that occurs in Wellborn. After reading The Changeling and The Duchess of Malfi, audiences can see how powerful character change can be, but in this work Wellborn undergoes a dramatic change in class rather than character.
Based on the exchange between Wellborn and Tapwell in scene 1.1, it is apparent that Wellborn was once a noble man of great wealth. However, he has now squandered his wealth away and has been degraded to being kicked out of the bar by Tapwell, who he had previously helped. This once powerful and wealthy man is now nothing more than a dirty bum. Despite being down on his luck, Wellborn does not resort to desperation to satisfy his needs.
When Allworth stumbles upon Wellborn beating Tapwell, he stops him and eventually offers him money to help in his situation, but Wellborn will not take the money. He refuses to accept donations from a youth and claims, “I’ll eat my arms first”( 1.1.176). Lady Allworth also offers Wellborn money after he speaks to her about the righteous acts that he had done for her late husband. In response to this assistance, Wellborn simply rejects the money and demands only the respect of Lady Allworth’s servants. As the play progresses, the only individual that Wellborn accepts money from is Overreach, which he uses to pay back his creditors who were ruined due to his negligent credit. Towards the end of the play Wellborn has reestablished himself as a noble man with strong values. He is not the wealthy man that he once was, but he is no longer the poor, run down man that he was at the start of the play.
Wellborn did not have a dramatic internal change as Bosola and Beatrice did in prior plays, but his change of class prior to and throughout the play shows his determined character. He kept his morals intact and worked from the bottom to once again gain good fortunes. He was even able to gain revenge against Overreach in the process.
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Ethics of Service
In Massinger’s A New Way to Pay Old Debts, the role of the servant is captured in two differing lights. Firstly there are the servants that work in the home of Lady Allworth with great pride and fulfillment. These servants are absolutely necessary for the upkeep and normal function of the household. There is Order the steward, Amble the usher, Furnace the cook, Watchall the porter, and Waiting-woman and Chambermaid. Lady Allworth treats her staff with respect and shows them gratitude for their work, as when she gave Furnace money for new aprons and a summer suit: “In the meantime, there is gold / To buy thee aprons and a summer suit” (1.2.58-59). The staff shows great loyalty in return for Lady Allworth’s conscientious conduct. Overreach tries and fails to get Order to criticize Lady Allworth about her mourning rituals: “Sir, it is her will, / Which we that are her servants ought to serve it / And not dispute” (1.3.4-6). The staff also knows their place in the household and in society in general. In the presence of Lovell, Lady Allworth asks Amble and Waiting-woman for some privacy. Their reply characterizes both their social status and their respect for Lady Allworth: “Amble: We are taught better / By you, good madam. / Waiting-woman: And well know our distance” (4.1.173-174). The house servants’ compliance was imperative to the fruition of Wellborn’s plot (of the false engagement to Lady Allworth). Without the servants this plot would have never worked and Wellborn would not have been able to attain the same resolution for his debts.
Greedy and Marall are technically Overreach’s servants and parallel the loyal servants in Lady Allworth’s home. These two show their loyalty to their master by complementing his notorious schemes and in most cases carrying them out. However they do not show the same respect for Overreach as the respect that Lady Allworth gets from her servants. Marall and Greedy are in it for themselves and each one only serves in order to attain their personal desires. They interact in a way that befits common thieves and sell-swords. Overreach calls them fools and knaves while they reply: “You are all wisdom” (2.1.23), or “The best I ever heard! I could adore you” (2.1.43). Overreach realizes that he needs his servants : “Alone I can do nothing, but I have servants / And friends to second me…” (5.1.312-313). Unfortunately, Marall does not have much loyalty left for Overreach and he betrays him by changing the deed for Wellborn. He then offers his services to Wellborn :”If it please Your Worship / To call to memory, this mad beast once caused me to urge you to or drown or hang yourself; / I’ll do the like to him, if you command me” (5.1.335-337). To which Wellborn replies:
You are a rascal! He that dares be false
To a master, though unjust, will ne’er be true
To any other. Look not for reward
Or favor from me; I will shun thy sight
As I would do a basilisk’s. Thank my pity
If thou keep thy ears. Howe’r, I will take order
Your practice shall be silenced (5.1.337-344).
In the end, everyone gets what they deserve and those who were loyal to their masters retain pride in their loyalty, while those that betrayed their masters retain great shame. As Wellborn said: “His conscience be his prison” (5.1.347).
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Overreach: Ambitious and an Enemy
Out of all the characters in A New Way to Pay Old Debts, Overreach acts out of radically private motives. He views everyone around him as rivals and he views a conflict based on winning or losing. He was also an ambitious character who would do anything to dominate in order to succeed in his plans. Margaret, his daughter and Marall were two people Overreach sought to dominate in order for his ambitions to go through,but since that failed, so did his plans and schemes.
Not only does Overreach want to be one step ahead of the others, he also laughs at the misfortunes of the other characters. He was a social climber who would do anything to climb up the ladder. Unlike other characters, who were good, Overreach acts against his past, denying it and not bound and respecting it. He also threatens his daughter Margaret to marry and was not a redeemable character because of his undesirable behavior and believes that “losers weepers, finders keepers” as a setting in his world.
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A New Perspective
As discussed in today’s class Massinger illustrates a different point of view of the lower class. Overreach is a character full of schemes that would do anything just as long as it followed his hidden agenda. This is clearly different from other characters we have read prior to this play, in which characters of the lower class were often those that possess righteous personalities such as Simon Eyre in The Shoemaker’s Holiday. Massinger’s characterization of Overreach is relevant to modern society as there are countless individuals who are also as reckless as Overreach in order to climb higher on the social ladder.
However Overreach’s character is an important contrast to the relationship that servants have with their masters in the play. The servants of the Allworth’s household all have a genuine affection and dedication for Lady Allworth and her stepson Tom Allworth. As we have already seen in Act 1 scene 2, Order, Amble, Furnace and Watchall expressed concern as how to little Lady Allworth has been eating after the death of her husband. Similarly they express concern to Tom Allworth in Act 2 scene 2, as they continuous remind him to remember to eat. This form of dedication is unique, as we have seen from previous plays that we have read, servants often know the deepest secrets of their master and are easily bribed to reveal these secrets to interested parties as we have seen from Pedringano in The Spanish Tragedy. This type of betrayal would not occur in the Allworth household, when asked by Lady Allworth to refrain from overhearing her conversation, both Amble and Lady Allworth’s waiting-woman replied: “we are taught better / By you, good madam. / And well know our distance” (4.1.176-174). Such response from servants emphasizes the dedication evident in all of Lady Allworth’s servants.
Massinger’s close attention to detail to the personalities of all the characters captivates the reader. Although the storyline composes of details similar to ones we have read in previous plays, it offers a unique twist in perspective not only to the plot of the play but also to society.