Doctor Faustus by Christopher Marlowe (1592)

JOHN FAUSTUS: All things that move between the quiet poles
Shall be at my command: emperors and kings
Are but obeyèd in their several provinces;
But his dominion that exceeds in this
Stretcheth as far as doth the mind of man;

Title and provenance

The Tragical History of Doctor Faustus.

Date Written: c. 1589 to 1592.

Source: In 1587 a version of the story of Doctor John Faustus was published in Frankfurt-on-Main, in German. Soon after – a 1592 edition is the earliest one extant – an anonymous English translation, containing modifications and additions, was published in England, under the title The Historie of the damnable life of Doctor John Faustus. It is clear from the numerous similarities in plot, episodes and even language that the History was Marlowe’s primary source for his play.

Doctor Faustus exists in two versions: the 1604 (‘A’ text) quarto is shorter; a second, longer version was published in 1616 (the ‘B’ text). Which one is more ‘authentic’ has been exercising Marlowe scholars for four hundred years. The editor of the New Mermaid edition – Roma Gill – thinks the shorter A version likely to be purer Marlowe, and the later B version includes additions by other writers. This is a review of the 1616 ‘B’, long version, as found on the ElizabethanDrama.org website.

Executive summary

The famous theologian Doctor John Faustus is spiritually unfulfilled with his chosen vocation, teaching and debating at the university in Wittenberg. He reviews all existing forms of human learning, dismissing them one by one as trash, fit only for small minds. He decides occult knowledge and magic is the only thing for him and the climax of part one is when he conjures a devil, an agent of Satan, Mephistopheles, and signs a contract with him, which gives Faustus the gift of sorcery and the secrets of the universe for 24 years, in exchange for his eternal soul.

Then there’s the middle bit where Faustus takes advantage of his magical powers, flying into space in a chariot drawn by dragons, an extended farce scene poking fun at the pope, before the most famous scene where he conjures up the most beautiful woman in all human history, Helen of Troy, with the words: ‘Is this the face that launched a thousand ships…’ Different printed editions of the play give different scenes demonstrating how Faustus uses his powers.

In the final part of this moralising fairy tale Mephistopheles returns and demands Faustus’s soul and, after a lot of pleading, Faustus is dragged down to hell. So let that be a lesson to you, children: Do NOT sign away your soul to the devil, no matter how tempting the short-term offer. ‘What must you not do, Johnny?’ ‘I must no sign my soul away to the devil, miss.’ ‘Good boy, Johnny.’

The play

Prologue

Consciously rejects the grand locations and warlike deeds of his earlier plays (Dido, Tamburlaine and the Jew of Malta) for something more intimate. The prologue introduces Dr John Faustus with a potted biography of his birth, upbringing and education at Wittenberg, where he soon excels in theology.

Till swoln with cunning of a self-conceit,
His waxen wings did mount above his reach,
And, melting, heavens conspired his overthrow;
For, falling to a devilish exercise
And glutted now with learning’s golden gifts,
He surfeits upon cursèd necromancy;
Nothing so sweet as magic is to him,
Which he prefers before his chiefest bliss:
And this the man that in his study sits.

This is very slick and professional, to take us from nothing to having a good grasp of Faustus’s character and biography in just 27 lines before the prologue indicates the scene with his hand, and the play opens. Very impressive.

Act 1

Dr Johann Faustus is sitting in his study reviewing books of learning, the law, medicine, politics, and dismisses them all as superficial trash:

Philosophy is odious and obscure;
Both law and physic are for petty wits;
‘Tis magic, magic, that hath ravished me

Here, right at the start of the play a Good Angel and a Bad Angel appear to Faustus, respectively encouraging him, and telling him not to, study magic. Faustus summons two fellow students of the dark arts who have, apparently, helped him, Valdes and Cornelius. To all these characters, Marlowe allots his trademark booming verse, packed with soaring ambition, studded with stunning images of luxury and power, imagining what it will be like when they have total magical control:

VALDES: As Indian Moors obey their Spanish lords,
So shall the spirits of every element
Be always serviceable to us three;
Like lions shall they guard us when we please;
Like Almain rutters with their horsemen’s staves,
Or Lapland giants, trotting by our sides;
Sometimes like women, or unwedded maids,
Shadowing more beauty in their airy brows
Than has the white breasts of the queen of love:
From Venice shall they drag huge argosies,
And from America the golden fleece
That yearly stuffs old Philip’s treasury;

Faustus gets excited at the images of power and luxury his friends conjure up, and he invites them for dinner and to plan how to practice magic.

Scene 2. Street outside Faustus’s house

Two scholars enter and ask Faustus’s servant, Wagner, where his master is. The scene is padded out with comic material, namely that Wagner has picked up scraps of rhetoric and logic and so teases the two scholars by proving their arguments illogical or wrongly formed etc. Eventually he spits out that his master is at dinner with Valdes and Cornelius and the two scholars go away, sad, and tutting and shaking their heads, because that pair have a bad reputation for the dark arts.

Scene 3. A grove

This is the scene where Faustus, alone in a grove in the countryside, has drawn a circle and written into it various magical symbols and now recites a Latin spell, there is a crack of thunder, and a devil appears, Mephistopheles. Although he should be terrifying, he proceeds to explain the processes and procedures of devils in relatively bureaucratic terms: when they hear anyone abjure Christ, God and the Scriptures a devil will come speeding, hoping to win a soul.

Faustus’s superficiality, the lack of understanding behind all his fine reading, is amply demonstrated. He says he agrees with the ancient philosophers in thinking hell a children’s fable, of confounding heaven and hell. When Mephistopheles tries to explain that hell isn’t a world of punishments, it is deprivation of the boundless soul-filling job of being in heaven, Faustus mocks him and tells him to ‘learn of Faustus manly fortitude’. In other words, it is plain for everyone in the audience to see that Faustus is not only a blasphemer and infidel, he us stupid when it comes to the only thing in life which matters.

It is Faustus who boastfully makes the offer, telling Mephistopheles to go and tell his master, mighty Lucifer:

FAUSTUS: Say he surrenders up to him his soul,
So he will spare him four and twenty years,
Letting him live in all voluptuousness,
Having thee ever to attend on me,
To give me whatsoever I shall ask,
To tell me whatsoever I demand,
To slay mine enemies, and to aid my friends,
And always be obedient to my will.

You can see how this kind of megalomaniac over-reaching is first cousin to Tamburlaine’s heaven-vaulting ambition, and Faustus’s ambitions are cast in very similar terms:

By him I’ll be great emperor of the world,
And make a bridge thorough the moving air,
To pass the ocean with a band of men;
I’ll join the hills that bind the Afric shore,
And make that country continent to Spain,
And both contributary to my crown.
The Emperor shall not live but by my leave,
Nor any potentate of Germany.
Now that I have obtained what I desired.

Scene 4

A comic scene with Wagner the servant (who speaks in servant prose) who encounter a ‘clown’ or beggar in the street and raises two devils to terrify the clown into serving him (Wagner).

Wagner can raise devils? This scene, in fact all the scenes with Wagner and some of the banter between Faustus and Mephistopheles has a raggedy comedy about it. T.S. Eliot described The Jew of Malta as ‘a savage farce’ and Faustus also has farcical elements, as if Marlowe can’t take his own story seriously.

Scene 5. Faustus’s study

He listens to the arguments of the good and bad angel, but is resolved for bad, He realises:

The god thou serv’st is thine own appetite,

And yet he is determined to do it. He argues back against the good angel, and then – it being midnight – conjures Mephistopheles. The devil tells him to stab his arm to draw the blood to sign his pact with great Lucifer.

But something genuinely spooky happens. As Faustus tries to write, his blood keeps congealing, preventing him from continuing to sign away his soul. Mephistopheles hurries offstage and returns with a chafer of flame which they use to prevent Faustus’s blood congealing, and he finishes writing out the contract. But then appears on his arm the words Homo fuge, Latin for ‘man, flee!’ Faustus is momentarily panic-stricken, but Mephistopheles magics up a dancing troupe of devils to distract him. Thus reassured (or dazzled) Faustus reads out the contract he has drawn up: Mephistopheles will be his to command for 24 years to carry out his every wish, and then:

I, John Faustus of Wittenberg, Doctor, by these presents, do give both body and soul to Lucifer, Prince of the East, and his minister Mephistophilis; and furthermore grant unto them, that, four-and-twenty years being expired, and these articles above written being inviolate, full power to fetch or carry the said John Faustus, body and soul, flesh and blood, into their habitation wheresoever.

Mephistopheles again double checks that Faustus is entering into the contract of his own free will. This is important for the very legal pernicketiness which characterises Christian theology. Faustus affirms it. Now commences his 24 years of fun.

Faustus asks Mephisopheles about hell and the latter gives a famous and profound description:

Hell hath no limits, nor is circumscribed
In one self place, for where we are is hell,
And where hell is, there must we ever be.

Hell is the absence of God and of God’s grace which is what saves and redeems humans. It is not so much a place, as a condition we carry round with us. Hence Mephistopheles’ earlier declaration:

Why, this is hell, nor am I out of it:
Think’st thou that I, that saw the face of God
And tasted the eternal joys of Heaven
Am not tormented with ten thousand hells,
In being deprived of everlasting bliss?

Once again Faustus shows his idiocy by saying he doesn’t believe hell exists, it’s an old wives’ tale. Nonetheless, Mephistopheles says he’ll bring him the most beautiful women in the world, each morning, fresh to his bed. And Mephistopheles gives him a book full of magic spells.

Scene 6

Some time later, in Faustus’s house, he accuses Mephistopheles of misleading him, of looking up at the stars and the beautiful heaven he will never see. Mephistopheles tries to talk him round, the two angels appear and the bad won triumphs, hardening Faustus’s heart. Incidentally, there’s an indication of what the pair have been up to:

Have not I made blind Homer sing to me
Of Alexander’s love and Oenon’s death?
And hath not he, that built the walls of Thebes
With ravishing sound of his melodious harp,
Made music with my Mephistophilis?

He quizzes him about the nature of the solar system, the planets and the stars, which knowledge Mephistopheles rattles off but when Faustus asks him who made it all the devil literally cannot bring himself to utter the word God.

When the good angel prompts Faustus to try to repent he is visited by Lucifer and Beelzebub. They tell him not to think on heaven or call on God. To distract him they summon up an allegorical masque of the seven deadly sins. Faustus loves the show and Lucifer gives him a parting gift of a book of magic before exiting.

Scene 7

A comic scene between Robin and Dick, two ostlers or staff at an inn who have got their hands on one of Faustus’s books and appear to be thinking of using it to gain magical powers.

Chorus 1

The chorus describes how Faustus rode a chariot pulled by dragons out into the solar system to behold the planets in their motion. Returned to earth after 8 days, he is now riding a dragon across its surface and will soon arrive at Rome.

Scene 8

Faustus and Mephistopheles review the tour they’ve made through France, Germany and down into Italy. Faustus is loving it:

Whilst I am here on earth, let me be cloyed
With all things that delight the heart of man:
My four-and-twenty years of liberty
I’ll spend in pleasure and in dalliance…

Now they hide in order to watch the annual Festival of St Peter inside the palace of the Pope. A procession enters, the striking part of which is that a ruler named Bruno is in chains, and the Pope orders him to go on all fours so as to act as a footstool for him (the Pope) to ascend his throne.

This Bruno is a fictitious ‘anti-pope’, a role which arose in the 14th century when two different popes were elected for a period of fifty years, who opposed and anathematised each other. But there was never an anti-pope named Bruno, just as the pope in these scenes is referred to as Adrian and depicted as an enemy of the Holy Roman Emperor, whereas the one and only pope named Adrian (the only Englishman to have been pope) ruled from 1154 to 1159 and was an ally of the Holy Roman Emperor. Similarly, the scene features a King Sigismund of Hungary and there has never been a King Sigismund of Hungary. In other words, these names are just handy labels for a scene of broad farce. Similarly, the scene

Faustus and Mephistopheles watch all this then disguise themselves as cardinals of France and Padua in order to give the pope their theological opinion that the antipope Bruno should immediately be burned at the stake and the Emperor excommunicated. The pope hands Bruno over to our disguised pair to carry out the sentence.

Scene 9. The pope’s privy chamber

The pope is holding a feast for king Sigismund and his cardinals. Faustus reveals that he and Mephistopheles have magically transported Bruno safely back to Germany. The two real cardinals of France and Padua enter and are perplexed when the pope asks how their imprisoning and punishment of Bruno is going; both deny any knowledge although, of course, the pope’s entire court swears they saw it happen. So the cardinals are dragged off to prison and punishment.

Faustus gets Mephistopheles to say a spell (interesting to compare these spells with the same sort of thing Shakespeare used in A Midsummer Night’s Dream) to make him invisible and proceeds to wreak havoc, whispering insults in the pope’s ear, as if from his neighbour, whisking away the pope’s plates and goblet of wine, etc, eventually slapping the pope. Concluding some evil spirit is loose among them, the pope calls in some friars who solemnly chant magic spells, er, prayers, until Faustus and Mephistopheles set about them, too, beating them and throwing fireworks at them as they run away. Pantomime.

Scene 10. Street near an inn

Back to the serving men Robin and Dick. The vintner accuses them of stealing a cup from the inn. Rather over-reacting, Robin uses Faustus’s book to read and spell and conjure up Mephistopheles. As punishment for dragging him away from more important work, Mephistopheles transforms them into a dog and an ape, who promptly bark and bounce around the stage. Panto.

Scene 11. Court of the Holy Roman Emperor at Innsbruck

Two servants, Frederick and Martino, explain that Faustus has arrived at the Emperor’s court, having magically transported Bruno to Germany, and has promised to show the emperor all his historical antecedents.

Scene 12. The emperors ‘presence chamber’

The emperor formally greets Faustus and thanks him for rescuing Bruno, the German anti-pope. Faustus then presents a dumb show in which we all see the figure of Alexander the Great confront and defeat the Persian emperor Darius before setting the latter’s crown on the head of his paramour. The emperor is mightily impressed, though he has to be restrained by Faustus from embracing the dumbshow Alexander.

One of the emperor’s courtiers is a drunken nitwit named Benvolio, and as a result of saying he doesn’t believe in Faustus’s powers, the latter gives him the horns of a stag. Everyone laughs then Faustus menaces him with setting a pack of devils to tear him to pieces as Diana’s hounds tore Actaeon to pieces. The emperor intercedes and so Faustus relents and removes Benvolio’s horns. This is comedy, farce – but what strikes me is the use of classical myth to articulate it. The Greek myths and legends dominate Marlowe’s imagination from start to finish.

Scene 13. A grove near Innsbruck

In revenge for his humiliation, Benvolio organises an ambush with Frederick and Martino and, when Faustus comes along, they stab him, knock him to the ground and then chop off his head! They exult over his corpse but are terrified when the headless body gets to its feet. He cannot be killed. Now he conjures up Mephistopheles and two other devils to drag the three conspirators off to dump them in mud and drag them through thornbushes and throw them off steep rocks to break their bones, and they all exit, screaming.

That’s not all. Some soldiers had been included in the assassination attempt and when they now come forward to attack Faustus, the latter conjures up Mephistopheles and other devils in the guise of an army with drums and fife who march against the soldiers and chase them offstage with fireworks.

Scene 14

Show what became of the three conspirators Benvolio, Frederick and Marino, now covered in mud, scratched and bruised and,.. with stags horns on their heads! They conclude there is nothing they can do against such magic and will retreat to Benvolio’s castle, there to live in retirement till their shame has passed.

Scene 15

A convoluted comic scene in which a horse-courser or dealer begs Faustus to sell him his magic horse, which he finally does for 40 dollars but tells the man not to ride it into water. Barely 30 seconds have passed and Faustus has just gone to bed, before the dealer returns to say he did ride the horse into water and it disappeared leaving just a straw behind. Now the dealer goes to pull Faustus out of bed but his leg comes off in his hand, Faustus wakes up shouting Murder, murder’, and the dealer runs off. Faustus’s leg is magically restored (just as his head was in scene 13) and  his servant tells him the Duke of Vanholt wishes to see him.

Scene 16

Robin, Dick, the horse-courser, and a carter are down the pub sharing their reasons for hating Faustus.

Scene 17. The Court of the Duke of Vanholt

The Duke thanks Faustus for building him a castle in the air. His wife, the duchess, is pregnant and expresses a fancy for grapes. Although it is midwinter, Faustus dispatches Mephistopheles who returns a few seconds later with a spray of wonderful fresh grapes.

The Duke and Duchess are still marvelling at this when there is a load of rowdy banging at the gate. It is Robin, Dick, the carter, and the horse-courser. They’re drunk, insult Faustus and demand more beer! Faustus asks the duke to indulge him and calls for more beer. This scene takes up an inordinate space, in which the horse dealer drunkenly asks whether Faustus can remember having his leg pulled off, Faustus says yes, the dealer asks where it is, Faustus replies, back here with me, and so on. Presumably the Elizabethan audience found all this very funny.

All four begin to accuse Faustus with their grievances but one by one he strikes them dumb, last of all the hostess who’s come to ask for her bill to be paid, and they exit like zombies. The duke and duchess are very amused.

Scene 18

Back at Faustus’s, Wagner enters to tell us his master is preparing to die, has given Wagner:

his wealth,
His house, his goods, and store of golden plate,
Besides two thousand ducats ready-coined.

Then we see Faustus at dinner with two scholars. They have been discussing who was the most beautiful woman in the world (as wise and learned scholars will, after a few beers) and decided it must be Helen of Troy. Faustus promptly gets Mephistopheles to lead her in, in a dumbshow of the same style as the one where Faustus conjured up Alexander the Great. They are immensely impressed and gratified, thank Faustus and leave.

The tone completely changes as an old man enters and warns Faustus, at length, to save his soul. Faustus is stricken with remorse and tries to repent but Mephistopheles turns savage, accuses him of breaking the bargain, and warns him he will tear his flesh in piecemeal.

Faustus is so terrified he instantly promises to renew his vow, and Mephistopheles hands him a dagger so he can cut his arm and renew the contract in his own blood and then, vengefully, orders Mephistopheles to torment the good old man who just visited him. Faustus asks for just one thing – that he may possess Helen, the most beautiful woman in the world they saw a few minutes ago, to distract him from his vow.

Re-enter Helen, passing over the stage between two Cupids which prompts the famous lines:

FAUSTUS: Was this the face that launched a thousand ships,
And burnt the topless towers of Ilium? −
Sweet Helen, make me immortal with a kiss.
[He kisses her]
Her lips suck forth my soul: see, where it flies! −
Come, Helen, come, give me my soul again.

What strikes me now about this speech is, again, the way it is drenched in references to Greek myth, and references Troy, Paris, Achilles, Jupiter, Semele and Arethusa.

Scene 19: in which Faustus pays his debt and is dragged down to hell

With a crack of thunder Lucifer, Beelzebub, and Mephistophilis enter Faustus’s study. Separately, Faustus finalises his will with Wagner, gifting him all his belongings. Then the scholars visit and Faustus laments and regrets his life of sin, his promise and the threat of eternal damnation.

A scholar tells him to turn to God but the devils hold his tongue, dry his tears, pull down his hands so he cannot pray. Then he for the first time tells them the full story, of how he sold his soul to the devil for 24 years of partying, Horrified, the three scholars retire into the next room.

Now Mephistopheles closes in on him, admitting it was he who drew his taste to books of magic, closed up the books of divinity and steered Faustus’s soul to damnation. The good angel and bad angel appear, the good one showing him the throne in heaven Faustus would have been awarded, the bad one explaining now he will be dragged down to hell and hell appears to be a pretty bad place. Mephistopheles shows it to him:

EVIL ANGEL: Now, Faustus, let thine eyes with horror stare
Into that vast perpetual torture-house.
There are the furies tossing damnèd souls
On burning forks; their bodies boil in lead;
There are live quarters broiling on the coals,
That ne’er can die; this ever-burning chair
Is for o’er-tortured souls to rest them in;
These that are fed with sops of flaming fire,
Were gluttons, and loved only delicates,
And laughed to see the poor starve at their gates:
But yet all these are nothing; thou shalt see
Ten thousand tortures that more horrid be.

It is noticeable how traditional this image is, and how different from the much more subtle, psychological definition of hell (as the absence of God which all damned people carry around within themselves wherever they go) which Mephistopheles expressed at the start of the play. Too subtle for the climax of a tragedy, which requires blood and guts and screaming, or as much garish suffering as possible. And hence the reversion to a traditional fire and pitchforks interpretation here at the play’s climax.

The clock chimes eleven. He has an hour left and delivers a blisteringly intense speech of terrified desperation:

The stars move still, time runs, the clock will strike,
The devil will come, and Faustus must be damned.
O, I’ll leap up to my God! − Who pulls me down? −
See, see, where Christ’s blood streams in the firmament!
One drop would save my soul, half a drop: ah, my Christ! −

The clock ticks relentlessly forward and then strikes midnight. There isn’t, as you might have expected, a big set-piece scene featuring Lucifer, Beelzebub et all gloatingly seizing him. Instead Faustus’s final moments are brief and brutal as a pack of devils enter and drag Faustus offstage as he screams his final lines:

O mercy, Heaven! look not so fierce on me!
Adders and serpents, let me breathe a while!
Ugly hell, gape not! Come not, Lucifer!
I’ll burn my books! − O Mephistophilis!

Even reading this I found genuinely harrowing. Well acted onstage it can be terrifying.

Scene 20

There is a short, half-page-long scene as the three scholars cowering next door, go into Faustus’s study and discover his body all torn to pieces, and recount the terrible screams they heard. Well, they’ll gather up his body and give him a fine funeral at which all the students of the university will wear black.

Chorus 2

Brief and to the point:

Cut is the branch that might have grown full straight,
And burnèd is Apollo’s laurel bough,
That sometime grew within this learnèd man.
Faustus is gone: regard his hellish fall,
Whose fiendful fortune may exhort the wise,
Only to wonder at unlawful things,
Whose deepness doth entice such forward wits
To practise more than heavenly power permits.

Thoughts

A divided text

Clearly there are two completely different types or tones of content sitting cheek-by-jowl in this strange uneven text: the genuinely tragical and sometimes very moving, and the farcical, panto content. Most scholars and indeed readers and audiences can easily see that the comic scenes were almost certainly not written by Marlowe. Marlowe’s humour, as demonstrated in The Jew of Malta, is stylish, cynical and savage. Much of the humour in Faustus’s comic scenes (pulling Faustus’s leg off, cutting his head off, four churls getting drunk down the pub) is just stupid.

Endless theology

There’s enough theological issues or problems in the play – the precise status of the good and bad angel, the extent of Faustus’s free will, whether God’s grace could save him up to the last minute – to keep serious-minded scholars in academic papers for the rest of time. After all, Marlowe was himself a scholarship-winning student of divinity at Cambridge and Roma Gill’s introduction informs us that Mephistopheles’ subtle vision of hell as exclusion from the bliss of salvation is in fact closely translated from a text by the 4th century Church Father, Saint John Chrysostom.

Dazzling escapades

For us non-theologians, though, it’s useful to make a list of Faustus’s various escapades: that he rides through the solar system in a chariot pulled by dragons (!), rides across Europe on the back of a dragon, gets to slap the pope and chase friars with fireworks, and that Mephistopheles changes two servants into an ape and a dog. He creates a masque featuring Alexander the Great and builds a castle in the air and, by implication, has Homer sing to him, and has sex with Helen of Troy. On the farcical end of the scale, he sells a horse dealer a horse which is in fact a straw, gives a drunken knight real stags’ horns, survives having his head cut off and his leg pulled off, and strikes four noisy chavs dumb.

Clever critics have pointed out that Faustus’s escapades mark stages on his degeneration: he starts out hymning the infinite power of the mind, associating with Homer and travelling the solar system, before degenerating into a court entertainer for the Duke of Vanholt, calling up historical masques and magicking up fresh grapes, before he becomes involved in the downright stupid escapades involving lost heads and legs and, in the final scenes, wishes to cease having a body altogether, to be buried in the earth or to become as incorporeal as the dew, so as to escape the torments of hell.

It’s a neat idea, but ignores the actual order of some of the adventures, not least that the best one – kissing Helen of Troy – happens at the end. But it does tie together all the adventures and bring out the often tawdry and banal nature of what people actually get when their dreams are fulfilled.

Marlowe’s Greek imagination

Shakespeare litters his plays with references to English folklore, dialect words and imagery (the names and symbolism of English flowers, for example). There’s nothing like that in Marlowe. In Marlowe almost every analogy or metaphor references Greek myths or legends. From the masque of Alexander the Great early on through the apparition of Helen of Troy at its climax, through to the best line in the short epilogue mentioning Apollo, and via hundreds of other references, the Greek myths and legends dominate Marlowe’s imagination from start to finish.

Campus tragedy

Dr Faustus is a tragedy about an academic. It is a tragedy about the overweening pride which comes from being very learnèd and superior, ‘glutted with learning’s golden gifts… swollen with cunning of a self-conceit’, as the prologue puts it – but lacking wisdom or morality.

In a way, it is a tragedy about the perils of over-education. There’s a modern genre called the campus novel or campus comedy, dating from Kingsley Amis’s novel Lucky Jim and characterising many of David Lodge’s novels. The presence of the three scholars right at the climax of the play highlights the fact that, all the way through, Dr Faustus is a campus tragedy.

Dr Faustus as Marlowe’s psychodrama

Marlowe studied Divinity at university, but also read widely in Latin classical literature. The quote from St John Chrysostom indicates how deeply he knew his theology, and a glance at any of the poems or plays shows how drenched his imagination was in the Greek myths and legends.

It isn’t the most obvious thing about the play, but Dr Faustus can be read as a dramatised debate between these two halves of Marlowe’s education, between the two major cultural traditions of Europe, Christian belief and the enormous cultural heritage of the classical world.

On the whole Faustus’s vision of power and the infinite reach of the human imagination are expressed through metaphors and references to Greek myth – the downsides, the price to pay for overweening ambition, the limits of the purely human, are expressed in theological terms. Man can aspire to the marvellous  – but at the end of the day, he is a creature, created by a Creator, to whom he owes an infinite debt.

Obviously this tension is openly expressed throughout the play, most narrowly in the debates between the good and evil angel, or in the warnings of the old man, who wanders in off the street to tell Faustus to repent. It is encoded in the imagery of the play, in the two contrasting sets of symbols and images, one pagan, one Christian.

But you can argue that the debate, the conflict of value systems, comes to a symbolic climax in the figure of Helen of Troy, and her appearance just before Faustus is dragged offstage by the devils.

Helen is maybe the most famous figure from all Greek myth, an image of worldly beauty, of sensual bliss who also epitomises the appeal and attraction of classical culture, and by extension, the world of the Imagination, with its promise of intellectual reward, emotional comfort and psychological reassurance. How many thousands of artists and millions of art-lovers find consolation in turning from the banal, dirty, frail and disappointing realities of the world, to open a book and enter a wonderful world of imaginative consolation.

And yet… Helen has been conjured by a devil. The entire thing is a deception. She is not real, the pleasure she brings is not real. When Faustus says:

Her lips sucks forth my soul: see, where it flies! −

There is a clear and very obvious ambiguity in the line. It is simultaneously a lover’s expression of sensual bliss, the kind of erotic hyperbole common to Renaissance poets and their heirs – but at the same time has a diabolical and theological meaning. The devil who made or is impersonating Helen really is sucking out his soul. The Helen Faustus and the audience sees is a gorgeous mask over a death’s-head skull.

And so, along with being a storming theatrical entertainment, and a satire on the entire notion of the over-ambitious Renaissance Man – Dr Faustus can also be read as dramatising the tensions in Marlowe’s divided mind between the two central traditions of European thought, which he was expert in, which saturated his thinking, and which he never managed to reconcile in his short life.


Related links

Marlowe’s works

More Elizabethan and Jacobean reviews

Tamburlaine part 2 by Christopher Marlowe (1587)

Full title

The Second Part of The bloody Conquests of mighty Tamburlaine. With his impassionate fury, for the death of his Lady and loue faire Zenocrate; his fourme of exhortacion and discipline to his three sons, and the maner of his own death.

The sequel

Tamburlaine was such a phenomenal theatrical, cultural and financial success, that Marlowe was incentivised to rush out part two the same year (1587), something candidly confessed in the prologue:

The general welcomes Tamburlaine received,
When he arrivèd last upon our stage,
Hath made our poet pen his Second Part,
Where death cuts off the progress of his pomp,
And murderous fates throw all his triumphs down.
But what became of fair Zenocrate,
And with how many cities’ sacrifice
He celebrated her sad funeral,
Himself in presence shall unfold at large.

It’s interesting to compare Marlowe’s pithy prologues with Ben Jonson’s. Basically, the Jonson ones feel crabbed, contrived and contorted, whereas Marlowe’s flow, like everything he wrote, with marvellous ease and confidence.

Both parts of Tamburlaine were published in 1590. More even than part one, part two makes use of exotic locations and place names which Marlowe had borrowed extensively from Abraham Ortelius’ collection of 16th century maps, relying on five in particular, those of Europe, the Turkish Empire, Africa, Natolia, and the World. The way the verse is stuffed with high-sounding foreign names designed to awe and impress makes it a fore-runner of Milton’s similar overuse of exotic placenames in Paradise Lost.

Executive summary

Part one ended with Tamburlaine’s promise to marry Zenocrate, the daughter of the Soldan of Egypt who he captured early in the play but who fell in love with him. Well, enough time has passed for them to have had three grown-up sons (20 years?). (In reality, the historical Timur had over 40 wives and concubines, no such person as Zenocrate existed, and he had four sons.)

Despite their crushing defeat to Tamburlaine in Part One, the Ottomans have since recovered and reestablished control over Anatolia (and perhaps some parts of the Middle East, including a portion of Syria), and resumed their wars in Europe, where they have captured lands up to the Danube River in Hungary and the Balkans.

Tamburlaine is on the Sinai Peninsula, gathering his armies and preparing to march north. He has at some point captured, and now holds prisoner, Callapine, the son and heir of the previous Ottoman Sultan, Bajazeth, who we saw dash his own brains out in part one. The rulers of the various Ottoman territories must once again figure out how to defeat the Scythian peasant-turned-warlord.

Meanwhile 1. Tamburlaine is raising his sons to become conquerors like himself. He tends to do this via exemplary acts of extreme savagery against everyone, including the killing of one of his own sons who disappoints him. And 2. his beloved wife, Zenocrate, is dying.

The play ends when, after meting out extraordinary barbarism upon the Babylonians, Tamerlaine burns the Quran with contempt, falls ill and dies.

Act 1

Scene 1

As with part one, we are introduced to Tamburlaine’s enemies first, building up expectation before the entrance of the Great Man himself. These are Orcanes (King of Anatolia), Gazellus, Viceroy of Byron (just north of the Persian Gulf) and Uribassa – they all rule lands or cities controlled by the Ottomans. Their ruler, Callapine, has been captured by Tamburlaine who is right now camped at Gaza, in Palestine.

These ‘secondary’ rulers have brought their armies up into Europe, along the Danube as far as the border with Hungary. Here they are confronted by King Sigismund, who has brought a huge Christian army to face them. Now these ‘egregious rulers’ are at a decision point: should they venture all on a massive battle with Sigismund, with all the risks that entails? Or make peace with Sigismund, hang on to what they have conquered, and turn south to attack Tamburlaine? Orcanes chooses the second option, just as King Sigismund of Hungary enters with his entourage.

Scene 2

Enter Sigismund, Frederick, Baldwin and their train, with drums and trumpets. Orcanes reminds Sigismund that, at one point, the Turks were besieging Vienna itself; Sigismund replies yes, but now he has an army a thousand times stronger. So, after threatening each other a bit, both sides decide to make a deep and lasting peace settlement, the Christians swearing by Christ, the Turks by Mahomat, and they retire for a peace treaty feast.

Scene 3 Egypt, just south of Alexandria

Enter Callapine with Almeda, his Keeper Cut to Callapine, son of the former Sultan, Bajazir, who we saw beat his own brains out against the bars of his cage in despair in part one. Callapine has been captured by Tamburlaine and is being held a prisoner. In this short scene he offers his gaoler or warder, the rather dim Almeda, vast riches and kingships, if he will only release him (Callapine) and help smuggle him to a ship waiting just off the coast. It is notable that Callapine speaks with just the kind of soaring Marlovian rhetoric at other times given to Tamburlaine et al.

A thousand galleys, manned with Christian slaves,
I freely give thee, which shall cut the Straits,
And bring armados from the coasts of Spain
Fraughted with gold of rich America;
The Grecian virgins shall attend on thee,
Skilful in music and in amorous lays,
As fair as was Pygmalion’s ivory girl
Or lovely Iö metamorphosèd.
With naked negroes shall thy coach be drawn,
And, as thou rid’st in triumph through the streets,
The pavement underneath thy chariot wheels
With Turkey carpets shall be coverèd,
And cloth of arras hung about the walls,
Fit objects for thy princely eye to pierce.
A hundred bassoes, clothed in crimson silk,
Shall ride before thee on Barbarian steeds

Dazzled by the promise of riches, women and kingdoms, Almeda agrees, undoes Callapine’s chains, and the pair make off.

Scene 4

Enter Tamburlaine, Zenocrate, and their three sons, Calyphas, Amyras, and Celebinus, with drums and trumpets. Zenocrate is unwell. Tamburlaine tells her to rest. Zenocrate asks Tamburlaine when he will leave off fighting? Tamburlaine lambasts his sons for looking soft and effeminate. Zenocrate stands up for them, and each in turn declares they’re prepared to wade through blood to gain crowns and kingdoms. The youngest, Calyphas, initially says he will stay with his mummy, until Tamburlaine roars at him, when, realising his mistake, he changes his tune and declares he, too, will cleave the head of the Turkish deputy to gain his crown. You’d better, growls Tamburlaine.

CALYPHAS: If any man will hold him, I will strike
And cleave him to the channel with my sword.
TAMBURLAINE: Hold him, and cleave him too, or I’ll cleave thee.

Scene 5

Enter Theridamas, Tamburlaine’s oldest lieutenant, who gives an account of his army’s feats and march across North Africa.

Scene 6

Enter Tamburlaine’s other lieutenants, Techelles and Usumcasane – the kings of Fez and Morocco, respectively – who give an account of their armies marches around Africa. (Both these itineraries are based on the colourful and not-too-accurate contemporary book of maps, Theatrum Orbis Terrarum by Abraham Ortelius published in 1570.) Pleased with their efforts, Tamburlaine re-crowns them.

Now, he declares, they shall all march against the Turk and – with typical braggadocio – spill so much Turkish blood that Jove will send Hermes to make them stop, that the sun will be unable to bear the sight and go hide in the sea.

Act 2

Scene 1

Returns us to the Hungarian border, where Sigismund’s advisers recommend attacking the Turks while their guard is down. ‘But what about the vow I made in Christ’s name?’ asks Sigismund. ‘Promises made to infidels don’t count,’ they casuistically reply. ‘Yes, but we should set an example of good faith to prove our religion’, says Sigmismund. To which the lord of Buda uses stories from the Old Testament where God punished Israelite rulers for not attacking their enemies when they had the chance. Sigismund is persuaded, and tells them to go bid their forces arm.

Scene 2

Orcanes and his lords are discussing their aim to march their armies to attack Tamburlaine, when a messenger brings news that Sigismund’s armies are attacking. O faithless Christians! Orcanes rips up the articles of peace. Ironically, this Muslim leader no calls on Christ to assure them of victory.

Scene 3

Sounds of battle (i.e. a few trumpets and a few guns going off) and enter King Sigismund, badly wounded. He delivers a short soliloquy, confessing that his perjury and faithlessness means it’s only just that he should die, let his death be penance to his soul, so it can enter heaven. And he dies.

Enter Orcanes and his generals who look on the corpse of Sigismund with contempt. Orcanes has a vivid speech imagining Sigismund’s soul, rightfully, going down to hell and eternal torment. Orcanes orders Sigismund’s body to be left for the birds to eat. Having won this victory, they will march back to the Levant to confront Tamburlaine.

Scene 4

Zenocrate is in bed, ill, doctors are mixing medicines while Tamburlaine sits at her bedside. Tamburlaine delivers a long and moving speech saying the sun which gained his light from Zenocrate is waning. And describes how the cherubim are alerting other soul in heaven to expect her arrival, a page-long speech which includes the repeated refrain, ‘To entertain divine Zenocrate’:

Now walk the angels on the walls of Heaven,
As sentinels to warn th’ immortal souls
To entertain divine Zenocrate.

Zenocrate says his claims that he will die with her, upset her, deny her the happiness she hopes to attain in heaven. Do not die, Tamburlaine, live. Her speech is genuinely moving:

But let me die, my love; yet let me die;
With love and patience let your true love die!
Your grief and fury hurts my second life. −
Yet let me kiss my lord before I die,
And let me die with kissing of my lord.

Tamburlaine lyrically worships her world-beating beauty, says if she’d lived before the time of Troy nobody would have heard of Helen, Corinna and Lesbia (the dedicatees of poems by Ovid and Catullus) had never been heard of. (These are, of course, references Marlowe uses elsewhere, when he brings Helen of Troy onstage in Dr Faustus and in his translation of Ovid’s poem sequence dedicated to Corinna.)

When Zenocrate passes away his angry grief knows no bounds. He orders his generals to split the earth in half and then lead an assault on heaven itself.

What, is she dead? Techelles, draw thy sword
And wound the earth, that it may cleave in twain,
And we descend into th’ infernal vaults,
To hale the Fatal Sisters by the hair,
And throw them in the triple-moat of hell,
For taking hence my fair Zenocrate. −
Casane and Theridamas, to arms!
Raise cavalieros higher than the clouds,
And with the cannon break the frame of Heaven;
Batter the shining palace of the sun,
And shiver all the starry firmament.

He will have Zenocrate preserved in ‘cassia, ambergris, and myrrh’, placed in a golden casket and take her everywhere with him. As for the town where she died, Tamburlaine orders it to be burned to the ground.

Act 3

Scene 1

Enter the kings of Trebizond and Soria, one bringing a sword and the other a sceptre; next Orcanes (King of Natolia) and the King of Jerusalem with the imperial crown; after them enters Callapine, and after him, other lords and Almeda. Orcanes and the King of Jerusalem crown Callapine, and the others give him the sceptre Callapine, who we saw bribing his gaoler to set him free, is now restored to the bosom of his vassal lords who crown him the new Emperor of Turkey.

His vassal kings line up to tell him how many tens of thousands of men they have under arms, and Callipine concludes by saying, Right, let’s go and fight the Scythian thief. (And he is true to the vow he made Almeda, the gaoler who set him free: he makes him a king.)

Scene 2

Tamburlaine orders the town be burned to the ground and a memorial placed there to Zenocrate, and vows that he will take her embalmed body and her picture everywhere to look over his battles.

He then embarks on a long speech about the art of war and an extensive description of the art of storming towns (cribbed from a contemporary book on the subject). When the feeblest of his sons, Calyphas, says this all sounds a bit dangerous, Tamburlaine loses his temper, launches a furious tirade about how wounds and blood are nothing.

To prove it, Tamburlaine cuts his own arm, lets the blood and tells his sons to touch and even poke their fingers in it. Tis nothing. The two eldest sons ask to have their arms cut the same way, but Tamburlaine fondly denies them. The readiness was all he wanted to see. Now let’s go and fight the Turk and, in particular, seek out and decapitate the traitor, Almeda.

Scene 3

Techelles and Theridimas have gone ahead of Tamburlaine’s main forces and arrived outside the city of Balsera. They parley with the captain of the town who refuses to surrender, so Techelles instructs the pioneers i.e. siege engineers, to get on with building ramps and digging tunnels under the town walls.

Scene 4

The siege has succeeded and Tamburlaine’s forces are storming the town. The captain’s wife, Olympia, urges him to escape but he has been shot in the side, gives a vivid description of what it feels like, and dies. His wife begs death to take her, draws a knife and cuts her son’s throat, to prevent him being tortured by the barbaric Scythians.

She lights a funeral pyre for her menfolk as Theridamas enters, and is impressed by her fierce loyalty. He prevents her throwing herself on the pyre and insists she comes to meet Tamburlaine.

Scene 5

Enter Callapine, Orcanes, and the Kings of Jerusalem, Trebizond, and Soria, with their train and Almeda. A messenger tells Callapine and his entourage that Tamburlaine approaches. Calapine’s entourage (again) reiterate the numbers of men they have, and (again) Callapine vows to crush the Scythian upstart.

At that moment Tamburlaine enters and a strange scene ensues: Tamburlaine and Calapine exchange insults and threats, Tamburlaine taunting the Turks to single combat, both sides promising what they will do to each other once they have won the battle. Then, instead of actually attacking each other, they exit different sides of the stage, as if going off to lead their armies into battle.

Act 4

Scene 1

Tamburlaine’s sons. The two eldest, Amyras and Celebinus, issue from their tents ready to fight, and try to rouse their lazy brother, Calyphas, from his sleep. When he does wake he gives a cynic’s view of fighting, that who gets shot and who survives is random, that Tamburlaine is going to win anyway, and so he will stay in his tent playing cards with his servant till it’s all over.

With Ruper Everettesque camp insouciance, he deprecates the sound of the battle, drolly pointing out that someone’s liable to get hurt.

As you can imagine, when Tamburlaine enters, triumphant, accompanied by his generals and leading the defeated Turkish kings, he is angry beyond bounds with lazy Calyphas, who he says is no son of his. His generals, Theridamas, Usumcasane and Techelles all kneel and beg forgiveness for the boy, saying they’ll take him in hand and put him at the front of the next battle.

But Tamburlaine makes a big speech of contempt and then stabs him to death. The captured kings (of Jerusalem, Trebizond and Soria) all express their disgust at this inhuman act.

Tamburlaine explains that God has given him a mission, to be ‘the scourge of God and terror of the world’, not to exercise effeminate ideas of ‘honour and nobility but to prosecute war and blood and death and cruelty.

He tells his generals to round up all the Turks’ concubines from their tents and force them to bury the boy, since no soldier should defile his hands. When the kings protest, again, Tamburlaine bellows a speech of blistering vengeance:

I will, with engines never exercised,
Conquer, sack, and utterly consume
Your cities and your golden palaces;
And, with the flames that beat against the clouds,
Incense the heavens, and make the stars to melt,

The total, world-shattering, god-defying, morality-smashing extravagance of Tamburlaine’s deeds and speeches raise the hairs on the nape of your neck, give you goosepimples, make you believe you are in the presence of the uttermost of human power and depravity. He promises to bridle them like horses and make them draw his chariot.

Scene 2

In this scene Olympia laments her dead husband and son and longs for death. Theridamas – who we saw falling for her at first sight in Act 3 scene iv, enters and tries to win her heart, but she is set on dying. Then – in a ridiculous contrivance – she persuades Theridamas that she possesses a rare and precious ointment which makes you invulnerable. She says she’ll smear some on her neck, then he can try to stab her with his sword and, when it fails, he can have the ointment and distribute it through the army.

So she anoints her throat and tells him to stab her and, like an idiot, he does, the ointment of course doesn’t work, and she falls dead. Theridamas is amazed and dumbfounded. The reader reflects that maybe, at one point, Marlowe intended Olympia to become a replacement for Zenocrate, but then realised he didn’t have room so had to get rid of her somehow. This is certainly a ridiculous contrivance.

Scene 3

Enter Tamburlaine, whip in hand, riding a chariot pulled – as he threatened – by two of the conquered kings (Trebizon and Soria) bridled like horses and prompting the most famous line from the play, one repeated and parodied for decades afterwards:

TAMBURLAINE: Holla, ye pampered jades of Asiä!
What! can ye draw but twenty miles a day,
And have so proud a chariot at your heels,
And such a coachman as great Tamburlaine

The other kings are led in chains and vigorously abuse Tamburlaine, who is amused. His generals say he needs to bridle the other kings and his son offers to get another chariot so he can bridle them, but Tamburlaine says no, he needs to rotate the kings so they don’t get too exhausted to pull him.

Tamburlaine orders the camp followers and whores of the captured kings to be brought in and distributes them among his soldiers. The kings angrily criticise this behaviour but Tamburlaine doesn’t care. He gives an extraordinarily powerful and vivid speech describing how he will gather treasure from the four corners of the Levant in order to decorate his native city of Samarkand.

Act 5

Scene 1

Cut to the city walls of Babylon, where a succession of captains and citizens try to persuade the governor to surrender to Tamburlaine’s besieging forces. He refuses. Theridamas shouts up at the walls telling the governor to surrender. He refuses. The army then scales the walls and takes the city. Enter Tamburlaine still in the chariot pulled by the kings of Trebizon and Soria.

Execution of the governor The wretched governor is dragged before him. Tamburlaine orders him to be hung in chains from the city walls and shot to death. He has noticed the two kings pulling him are exhausted.

TAMBURLAINE: These jades are broken-winded and half-tired;
Unharness them, and let me have fresh horse.

Execution of the kings He orders them to be released from their harnesses, and executed. They’ll be replaced by the other two kings who’ve been dragged along by soldiers, namely Orcanes and the king of Jerusalem.

Massacre of the Babylonians Then he orders his soldiers to bind the inhabitants of Babylon and throw them all into the lake of oil nearby. Kill them all.

TAMBURLAINE: Techelles, drown them all, man, woman, and child;
Leave not a Babylonian in the town.

Burning of the books Then he orders his soldiers to gather and burn all the books found in Babylon. He singles out the Koran and defies Mohammed to come down from heaven and strike him dead if he really exists. They troops burn the books and, suddenly, in the last lines of the scene, Tamburlaine for the first time feels a touch of illness, of ‘distemper’.

Scene 2

Callapine, who we last saw in Act 3 scene v, discusses with the king of Amasia how they are now the last major force left in the Levant who can challenge Tamburlaine. Callapine is realistic about Tamburlaine’s forces and luck but makes the analogy with the moon which, at its height, begins to wane. Maybe Tamburlaine’s fortune is at its height and about to turn…

Scene 3

His three oldest generals, Theridamas, Usumcasane and Techelles, take it in turn – in the manner of a Greek chorus – to lament the growing illness of Tamburlaine.

Then the man himself enters, still riding in a chariot drawn by two conquered kings, but puzzled that his body is now failing him. His mind is still superstrong and overweening:

Come, let us march against the powers of Heaven,
And set black streamers in the firmament,
To signify the slaughter of the gods. −

But, in fact, he can barely stand. He sees Death waiting for him and defies him. He tells his generals to call down Apollo to minister him.

A messenger appears to say the army of Callapine is approaching. In an odd moment, Tamburlaine appears to leave the stage for a few moments – and scare off the entire army – putting them to rout, before returning to the stage to carry on the dialogue.

He commands a map to be brought and traces on it, for his sons, all his conquest, luxuriating in the high exotic names of lands he’s conquered. As in the lament over Zenocrate, Marlowe uses the repetition of a line, as in the repetition of a refrain or chorus in a song:

And shall I die, and this unconquerèd?

He asks to be helped out of the chariot so he can crown his two lovely boys before he dies. He crowns Amylas, who mounts (reluctantly and tearfully into the chariot).

Then they bring in the hearse of his beloved Zenocrate, that has accompanied him through all his latter conquests. Joys that he will soon be with her. Then warns his son he will need the skill of Phaëton to guide the chariot he has given him. Then dies.

It falls to Amyras, his son, to speak five brief lines of elegy (which, for some reason, reminded me of the brisk afterword of Horatio at the end of Hamlet).

Thoughts

Many critics think the sequel is not as good as the original, but I think it’s better. Better because it feels quite a lot more outrageously cynical, violent and amoral than the first play. The exorbitance of Tamburlaine’s grief at Zenocrate’s death in part 2 is more heaven-climbing, more defiant and nihilistic than his love for her in part 1. The sight of Bajazeth beating his own brains out against the bars of his cage in part 1 was pretty extreme, but most contemporaries’ image of the play is of Tamburlaine riding a chariot pulled by the conquered kings of Asia, whipping them and roaring, ‘Holla, ye pampered jades of Asiä!’ – and that conceit or device is in part 2.

To understand the play’s lasting impact and appeal you’d have to investigate what it is in human beings’ psychology that attracts us to death and destruction. Or the spectacle of death and destruction, and that’s a deep one.


Related links

Marlowe’s works

History

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Europe’s Tragedy: A New History of The Thirty Years War by Peter H. Wilson (2010)

Introduction

This is an enormous book (weighing in at 997 pages, including index and notes) which covers an enormous subject, in enormous depth.

The Thirty Years War lasted from 1618 to 1648. It was in fact made up of a series or sequence of wars featuring different antagonists. The central strand linking them is that the staunchly Catholic Holy Roman Emperor Ferdinand II was fighting mainly Protestant opponents, and that he mostly won. The war is usually divided into four phases:

  • The Bohemian Revolt 1618-20, a rising of the Protestant Bohemian ‘Estates’ against Habsburg rule (‘The revolt was not a popular uprising, but an aristocratic coup led by a minority of desperate militant Protestants’, p.269), which was decisively crushed at the Battle of White Mountain on 8 November 1620.
  • The Danish intervention 1625-30, also referred to as the Low Saxon War or Emperor’s War, when Christian IV of Denmark (who was also Duke of Holstein and Schleswig which lay within the Empire) led an army in support of north German protestant states against Imperial forces. After five or so years of fighting, the war was concluded with the Treaty of Lübeck in 1629.
  • The Swedish intervention 1630-35, when King Gustavus Adolphus of Sweden led an invasion of north (and mostly Protestant) Germany. He was motivated by a) alarm at the Emperor’s harsh reimposition of Catholicism on the German states under the Treaty of Lübeck b) the goal of gaining economic influence in the German states around the Baltic Sea. Like Christian IV before him, Adolphus was heavily subsidized by Cardinal Richelieu, the chief minister of Louis XIII of France, who gave him a million livres a year. Gustavus Adolphus died in battle in 1632 but his forces continued the war until the Peace of Prague in 1635 brought peace between most of the Empire’s Protestant states and the Emperor.
  • The French intervention 1635-48, as you can see this is the longest single part of the war. Cardinal Richelieu feared the power of the Habsburg empire on his eastern border and used innumerable policies, treaties with the Danish and Swedes to try and limit and hamper Ferdinand. Finally this broke out into overt war.

This summary nowhere near conveys the complexity of the wider context within which these conflicts took place. When the war broke out, Spain was stuck in a never-ending conflict with its provinces in the Netherlands, what would eventually be called the Eighty Years War (1568-1648) and where its brutal suppression, inquisition, torture and execution of Protestant rebels laid the foundation for the Black Legend of Catholic Spain’s scheming brutality, compounded, in 1588, when the Spanish launched the Great Enterprise, the plan for an amphibious invasion of England to overthrow the Protestant monarch and return to England to being a good Catholic country under Spanish tutelage – what we refer to as the Spanish Armada.

France was a fellow Catholic country and so should have supported both the Emperor and Spain, but in fact politicked against both of them at every turn. For example, the French government supported the Dutch against the Spanish in order to keep the Spanish bogged down, wasting money in the Netherlands, and so presenting less of a threat to French power.

There were other flashpoints such as in Italy where Spain controlled the duchy of Milan. Italy was where the (relatively small-scale) War of the Mantuan Succession (1628–31) broke out and drew in the other European powers in parallel to the 30 Years War. Savoy in north-west Italy, which maintained a precarious independence from the Empire while being eyed by France, was another flashpoint.

In the south-east of Europe, the Holy Roman Empire was threatened by attack from the Ottoman Empire, whose power stretched far into modern-day Hungary (although for long stretches the Turks were distracted by the war they were fighting on their Eastern border against the Persian Empire under Shah Abbas the Great (p.100) who launched a fierce invasion capturing Baghdad in 1623 (p.103.)

North of Hungary there were repeated clashes over the border territory of Transylvania, and this drew in two other powers to the East of the Empire, namely Russia (or the Duchy of Muscovy, as it was commonly referred to), and the Polish-Lithuanian Commonwealth, who periodically fought each other.

When Gustavus Adolphus invaded north Germany it was not only to support the struggling Protestant German states, but in order to solidify his power in the Baltic as a whole, specifically projecting his power into Polish territory, who Sweden was, at one stage, directly at war with.

In other words, the Thirty Years War only makes sense – or you can only understand the motives of all the sides – if you appreciate a) the total context of European geopolitics of the time and b) you grasp that all the numerous states of Europe and beyond were continually prepared to use ‘war’ to further their ends.

Accustomed to two disastrous world wars, it is hard for us to reach back to a mindset in which wars were envisioned as relatively limited operations and completely acceptable methods to achieve power-political and territorial ends. To give an example of how it worked, we read time and again of kings or emperors continuing to deploy their armies, while at the same time hosting peace talks and negotiations, each victory or defeat in a local battle, strengthening or weakening their bargaining positions.

Discussions, negotiations, conferences and diets and assemblies, embassies and missions continued between all parties even while armed conflict broke out, was carried on, or suspended during truces.

The role of individual rulers

After the first 500 pages or so I realised I was becoming heartily sick of reading about the endless fighting over the same bits of territory, mainly because the little battles and squabbles come to seem utterly senseless. From the hundreds of separate micro-conflicts which made up the big ‘wars’, what came over most strongly to me was how many of them were driven by personal ambitions.

The entire social structure of the day was build around a fractious, rivalrous and competitive aristocracy who paid nominal homage to their king or emperor but who in reality were endlessly jostling for titles and land and possession. Apparently this was particularly true in France, with senior members of families related to the royal line (‘princes of the blood’) continually conspiring and politicking against each other (p.372).

The Holy Roman Empire was different and vastly more complex because it was made up of four major ‘states’, within which sat 40 or so duchies and princedoms, within which or alongside existed a large number of free cities and autonomous regions – from the very large to the very small, each with their own rulers and constitutions and parliaments or ‘Estates’, as they were called, their traditions and fiefs and privileges and customs and taxation systems, who were joined by a variety of links to the figure of the Emperor.

There were seven Electors, so-named because they were the electorate who chose each new emperor, being the archbishops of the imperial cities Mainz, Cologne and Trier, then the King of Bohemia, the Count Palatine of the Rhine, the Duke of Saxony, the Margrave of Brandenburg. There were fifty spiritual and 30 lay fiefs held by lords of princely rank and then some 200 lesser fiefs, and then 400 or so baronial and knightly families. There were 80 ‘free and imperial cities’. States which were large enough earned the right to attend the imperial Reichstag which was more of a consultative body than a parliament, where the emperor was meant to get his way through negotiation and concessions.

Everyone was competing against everyone else. Everyone wanted more land, more power, to expand their territory, seize new towns and ports and cities and bishoprics and titles and forests and land. And warfare offered a quick way of achieving these ambitions, not only for the rulers who owned armies but for their generals. A massive motivation for being a general in the army was that, if you were successful, you were rewarded with titles and land.

At a very high level the wars can be presented as conflicts between Protestants and Catholics, or between France and the Empire, or between Spain and the Dutch. But at the level Wilson describes, the conflict breaks down into scores of micro-conflicts between Electors and local rulers who had their eye on this or that piece of nearby territory, fighting or negotiating to acquire bishoprics or cities or control of fisheries or forests.

And when large states were defeated, the leader of the victorious forces (for example Gustavus Adolphus or Ferdinand, in the middle Swedish part of the war) was able to parcel out and award all the conquered territory to his successful generals and followers. Thus ‘ownership’ of land could pass through multiple hands which, of course, created an ever-expanding set of grievances and wishes for revenge or reconquest etc.

Seen from a really high level the war amounted to a succession of armies tramping across the same old territory, fighting each other to a standstill or dropping like flies from dysentery and plague, while ravaging the land around them, burning villages and towns, consuming all available food and ruining agricultural land and livestock, devastating the very territories their lords and masters were squabbling over like spoilt children. It is estimated that around a third of the Empire’s cultivable land had been abandoned by 1648 (p.802). Grain production didn’t return to 1618 levels until 1670 (p.806).

And this is what amounted to statecraft in early modern Europe. Endless rivalry and conflict, continually spilling over into ruinous wars.

Why is the Thirty Years War important?

Wilson explains why the Thirty Years War was and is important in his (relatively brief) introduction:

About 8 million people died in this huge, prolonged and devastating war. Many regions and cities of Germany didn’t recover for a hundred years.

The war occupies a place in German and Czech history similar to that of the civil wars in Britain, Spain and the United States, or the revolutions in France and Russia. A defining moment of national trauma that shaped how a country regards itself and its place in the world.

For most Germans the war came to symbolise national humiliation, and was blamed for retarding the economic, social and political development of the country, condemning Germany to 200 years of internal division and international impotence, until Bismarck began the process of German unification in the 1850s.

Wilson’s interpretations

Right at the start Wilson explains that his huge history has three big underlying aims which deliberately set it apart from most ‘traditional’ histories of the conflict:

1. Most accounts simplify the extraordinary complexity of the war. Wilson seeks to restore all of its complexity and the complex way it evolved out of, and interacted with, other parallel conflicts in the Europe of the time (notably the Spanish-Dutch war). But above all he wants to show how the central thread running through the war is their common relationship to the imperial constitution. The emperor wanted to secure peace in his Empire, to enforce the imperial constitution.

2. Thus Wilson wants to assert that the war was not a war of religion. It is true that the Emperor was a staunch Catholic and the Bohemian rebels, the king of Denmark and the king of Sweden were Protestants, and Protestant imperial states (notably the Palatinate and Saxony) allied with them. But Wilson wishes to emphasise that the primary causes were not religious but were – in his view – driven by conflicts over the rights and freedoms allowed the states by the imperial constitution, a constitution the Emperor Ferdinand II had sworn to uphold. Contemporaries rarely spke or wrote abour rarely about Protestants or Catholics – they spoke about Saxons or Bavarians or Swedes or Danes or French or Spanish troops. In Wilson’s view, the focus on Protestants and Catholics is a construction of 19th century historians who a) had their own religious culture wars to fight and b) sought to simplify the war’s complexity.

3. It was not inevitable. The Empire had been at peace after the 1555 Treaty of Augsburg, in fact the period from 1555 to 1618 was the longest period of peace Germany experience until after 1945. Meanwhile civil war raged in France and a bitter struggle in the Netherlands. So war was not inevitable and not the result of inevitable religious divisions. It was more the result of fortuitous and contingent events, starting with the decision taken by a small number of Bohemian aristocrats to rebel against imperial rule, which triggered a conflict in which some of the Protestant states (namely Saxony and the Palatinate) decided to take sides, before the king of Denmark made an unpredictable and personal decision to take advantage of the confusion in north Germany to try and expand his territory. And when the Danish venture had clearly failed, by 1629, the king of Sweden then decided to have a go himself, in order to seize north German territory and solidify his power in the Baltic.

None of these three events were inevitable, they were the contingent decisions of small groups of individuals, kings and their advisors, who decided to use warfare for the traditional goals of expanding their territories and power.

The deep historical context of the Thirty Years War

Wilson’s account doesn’t arrive at the outbreak of actual hostilities until page 269, nearly a third of the way into the book.

This is because, to understand a) why the war broke out b) why it spread c) why it became so horribly complicated, you need to have as full a grasp as possible of the history and complex constitution of the Holy Roman Empire, and of all the neighbouring countries which had an interest in what was happening in Central Europe.

This includes (going in clockwork direction) Spain, France, Britain, the Spanish Netherlands, the Dutch, Denmark, Sweden, Russia (Muscovy), Poland (the Commonwealth of Poland), Transylvania, Hungary, the Ottoman Empire, Serbia, Croatia, the Republic of Venice and various other Italian states, not least the Papacy, and Savoy.

Wilson gives us the deep history not only of the Holy Roman Empire itself, but of all these other countries, for each of them delving back into the 1500s, often into the 1400s, sometimes as far back as the 1300s, in order to explain the dynastic struggles, arranged marriages, land grabs and redistributions and wars which formed the mind-bogglingly complex web of political and military relations across the Europe by the start of the 17th century. (I think the earliest reference is to 1160, the year when the Hanseatic League was founded, page 176.)

The war was deeply bound up with the complex practices of inheritance, for example the routine appointment, in noble families, of younger sons as prince-bishops or prince-abbots, and the complexities of dynastic marriages between ruling families of different states and principalities.

The Holy Roman Emperors

I found the sequence of Holy Roman Emperors a little hard to follow, though on the face of it there’s a simple enough succession:

  • Rudolph II (1576 to 1612)
  • Matthias (1612 to 1619)
  • Ferdinand II (1619 to 1637)

Looks simple, doesn’t it, but Wilson places this trio and their reigns within the context of the vast Habsburg empire ruled by Charles V (1519 to 1556). Charles inherited extensive domains, including all of Spain and its new colonies in South America, Austria and territories scattered all across Germany, Hungary and Bohemia, in the Netherlands, and large chunks of Italy (e.g. Sicily and Naples). (Wilson gives an extended description of the growth of Spanish colonies in the New World, their use of slavery, and the importance of the silver trade, pages 116 to 121.)

It was Charles V who decided he had to divide this unwieldy entity into two massive parts (p.50), the Habsburg Partition of 1558. He gave Spain, the Netherlands and the New World to his son Philip II of Spain, and Austria and the Imperial territories of central Europe to his younger brother, the Emperor Ferdinand I (1556 to 1564).

Thus the creation of a Spanish branch and an Austrian branch of the Habsburgs or ‘family firm’.

But of course it was more complicated than that because 1. the Austrian emperor had numerous other titles, and these were awarded by a range of bodies within his scattered states, each with its own constitution and procedures. Thus the Austrian ruler was at the same time King of Bohemia, King of Hungary and Croatia. But he needed to be elected King of Germany by the seven electors (see the list, above). In general the next-in-line to the throne was elected while the current one was still alive, and received the honorary title ‘King of the Romans’ (a bit like our Prince of Wales).

Incidentally that title indicates the deeply held belief that the emperor was descended from the rules of ancient Rome and, like the later Roman emperors, carried the responsibility for the defence of all Christendom.

And 2) because the emperor was elected, this meant there were other candidates – although in practice this meant only other Habsburgs, in Ferdinand’s case, his brothers. Nonetheless these might be supported by various nations or special interest groups within the Empire because they thought this or that candidate would give them advantages and payoffs.

So as the Holy Roman Emperor who ruled just before the war broke out – Rudolf II – sank into madness or mania, his eventual successor Matthias had not only to face rival candidacies from his brothers Ernst, Maximilian and Albert, but found himself drawn into a prolonged conflict with Rudolf which lasted so long and was so destructive that it gained a name of its own, the Brothers’ Quarrel. As Wikipedia puts it:

The Brothers’ Quarrel was a conflict between Rudolf II, Holy Roman Emperor and his brother, Matthias in the early 17th century. Their other brothers – Maximilian III and Albert VII – and their cousins – especially Ferdinand II and Leopold V – were also deeply involved in their dispute. The family feud weakened the Habsburgs’ position and enabled the Estates of their realms to win widespread political and religious concessions.

Supporters and opponents in this intra-Habsburg rivalry came not only from within the Empire, but from the other wing of the Habsburg firm, in Spain, as well as a range of nations bordering the Empire. (So, for example, we find the King of Spain leaning on Matthias to make his older cousin, Ferdinand, his successor [which is what happened] in preference to the more unpredictable cousin, Leopold.)

So, even before he was elected, the Holy Roman Emperor had to have advanced political and diplomatic skills.

Early 17th century issues facing the Holy Roman Emperor

And when he finally did come to power, the Emperor faced a number of ongoing issues, which Wilson describes in detail, including:

  • the religious wars in France from 1562 to 1598, which the emperor had to be careful not to get involved in
  • the immense Eighty Years’ War or Dutch War of Independence (1568 to 1648), the revolt of the Seventeen Provinces of what are today the Netherlands, Belgium, and Luxembourg against Philip II of Spain, the sovereign of the Habsburg Netherlands – which frequently spilled over into north-western territories of the Empire
  • ongoing wars between Denmark and Sweden for primacy in the Baltic
  • the Time of Troubles, a period of anarchy, famine and civil war in Russia, 1598 to 1613
  • war between Poland and Russia
  • and, of course, the largest threat of all – from the Ottoman Empire, ‘the terror of Europe (p.76), whose power stretched into Hungary and which permanently threatened to invade up the Danube into the Austrian heartland itself. This threat has flared up most recently in the Long Turkish War or Thirteen Years’ War, fought over the Principalities of Wallachia, Transylvania and Moldavia from 1593 to 1606.

These were just some of the geopolitical issues which the Emperor inherited, continually having to assess which side, if any, to back in all these wars, and prevent physical or political damage to polities within the Empire. And that was before you get to the issues and conflicts bubbling away in the territories which he directly ruled.

In this high-level map of the European context, note:

  • how far into Europe the Ottoman Empire extended, pressing up through Hungary, and why Wallachia and Transylvania were important border states
  • Spain’s territory in Italy, and the south or Spanish Netherlands
  • the distinction between the Holy Roman Emperor’s inherited Austrian holdings (in pink) and the German states which he ruled over but which had independent princes, Electors, margraves and so on (in orange)

The Thirty Years War in its European context (source: International History blog)

The role of religion in the Thirty Years War

And then there was religion. The disaffected monk Martin Luther kicked off the Reformation in 1517. His reformed version of Christianity spread quickly through some parts of the empire, gaining princely converts who were able to protect the feisty monk and theological rebel.

Despite Catholic attempts to crush it in the 1520s and 30s, by the 1540s the existence of large populations and important leaders who had converted to the new religion quickly became a fact of life within the Empire, which was finally ratified in the Treaty of Augsburg in 1555.

But this new religious conflict was just the latest in a litany of conflicting histories, traditions, cultures and languages, constitutions and processes which differentiated and separated inhabitants of the 1,800 or so states which made up the Empire(!).

What distinguished religion was that religious belief struck home to the real core of a person’s identity and psychology; and that the more devout the believer, the more they considered religion a matter of life and death, not only for themselves but for the world. Wilson has a fascinating passage (pp.261-262) describing the rise of apocalyptic writings and end-of-the-world interpretations of Bible texts which, he thinks, were partly sparked by the economically disruptive change in Europe’s climate which we now refer to as the Mini Ice Age.

That said, Wilson goes out of his way to emphasis that religion wasn’t an inevitable cause of conflict, and describes in detail a number of religious clashes in the late 16th and early 17th centuries where rulers sought and achieved compromise and peace. Thus it’s true that a Protestant Union was set up in 1608 and a Catholic Liga in 1609, but by 1618 the Liga had been dissolved and the Union marginalised (p.239).

Religion – like other cultural differences – only becomes a problem if some people are determined to make it a problem, in either of two obvious ways: 1) as a cynical tool to gain advantage or power, 2) because the trouble-makers genuinely believe that theirs is the Only Religion, and that their opponents are infidels, heretics, the Devil’s spawn etc.

Some leaders and some states were determined to use religion as a tool, namely the Protestant ruling class of the Palatinate, a fragmented territory in central and west Germany. For zealots like these the election of the devoutly Catholic Ferdinand II presented a threat.

But the Important Point to grasp is that, although all the successive Emperors were devout Catholics, they also had a good grasp of Realpolitik and so realised that they had to find peaceful accommodations and practice toleration for all their citizens. The emperors tried to hold the ring and contain and limit religious conflicts wherever they arose.

Another flaw with the argument that it was a religious war, is the fact that both ‘sides’ – the Catholic and Protestant ‘sides’ – were deeply divided among themselves, something Wilson explores in great detail (chapter 7), not only among themselves (there was a big gap between Lutherans and Calvinists), but also with their foreign sponsors or backers, e.g. Catholic Spain was at odds with Catholic France who, in 1635 went directly to war with the Catholic Emperor.

Thus Wilson opposes historians who see the war as an ‘inevitable’ result of the religious divide which ran through the Empire. He gives much more importance to the prolonged uncertainty about the Imperial Succession i.e. the Brother’s Quarrel, which pitted the ailing Rudolph against his likely successor Matthias (p.255 ff). In this prolonged struggle both sides conspired to weaken the other which, of course, merely weakened the Habsburg Dynasty as a whole, and handed more power to the Parliaments and Estates and other constitutional bodies which ran the Empire’s numerous constituent states, from big kingdoms like Bohemia and Hungary, through large German states like Saxony and Bavaria, down to the tiniest principalities.

Wilson sees the real cause of the war more in the wish of the states to consolidate the power they had wrested from a weakened Habsburg administration and, if possible, to opportunistically extend it.

Events leading up to the Thirty Years War

Having described this complicated situation in great detail, Wilson then describes a series of events which didn’t cause the war, but help to explain the attitudes and policies of the key players when the war broke out, including such little-known incidents as:

  • The Bocskai Revolt 1604-6
  • The Donauwörth Incident 1606
  • The Jülich-Cleves crisis 1609 to 1610
  • The Uskok War 1615 to 1617

There are others and with each one, I realised a) the complexity of European politics in the 17th century b) that I know nothing about it.

The defenestration of Prague 1618

The elite of upper-class Bohemian nobles (just to explain that Bohemia was for centuries the name of the territory which, in the 20th century, was renamed Czechoslovakia and then the Czech Republic) felt aggrieved by Imperial decisions and appointments. A small number of conspirators decided to take direct action and one evening stormed the castle in Prague and three a couple of Imperial representatives (and their servant) out the window of their state apartment and into the moat.

However the three men did not die, but limped away, were hidden and made good their escapes. This was a bad omen, for the rising of the Protestant Bohemian nobility which the conspirators were aiming for wasn’t as whole-hearted as they wishes and, although some of the Empire’s Protestant states joined their rebellion (Saxony and the Palatinate) most didn’t, wisely waiting the outcome of events.

Briefly, after two years of battles and skirmishes across Bohemia and beyond, the Bohemian rebellion was crushed at the decisive Battle of the White Mountain in November 1620 and Prague was occupied by Imperial forces.

However, the rebellious Protestant provinces of central Germany still had to be brought to heel and this took three more years. And that process was only just being wound up when King Christian of Denmark decided to invade, so inaugurating the second of the four main phases of the war listed above.

I don’t have anything like the time or space or energy to even summarise what happened next. For a detailed account read the Wikipedia article.

The Edict of Restitution 1629

So the really key turning points are:

  • 1618 start of the Bohemian rebellion
  • 1620 The Battle of the White Mountain, where the initial Bohemian rebellion was crushed
  • 1625 The entrance of Denmark under King Christian IV into the war
  • 1630 the entrance of Sweden under King Gustavus Adolphus

But there’s another one – the passage of the Edict of Restitution in 1629. Having defeated Denmark’s forces, the Emperor Ferdinand II felt in a strong enough position to impose the Edict of Restitution. This attempted to turn back all the changes in ownership of religious land and property which had taken place since the 1555 Peace of Augsburg. In the intervening years there had been a steady flow of archbishopric, churches, monasteries (‘the secularised archbishoprics of Bremen and Magdeburg, 12 bishoprics and over 100 religious houses’) which had been expropriated by Protestant princes and rulers. The Edict attempted to reverse all these changes.

The result in 1629 and 1630 was a great transfer of power and property away from the Protestants to the Catholics. Thousands of Protestants had to leave places they’d lived in for generations and flee to Protestant territory.

The Edict applied especially to north-eastern Germany where the Emperor’s writ had been weak for a century. Ferdinand appointed Imperial administrators to take over the secularised states and cities in a bid to re-establish Imperial authority in areas where his control had become weaker.

Apart from alienating a lot of Protestant opinion, the Edict had two consequences. In 1630 Frederick had to call a meeting of Electors to have his son, also named Ferdinand, elected King of the Romans i.e. emperor in waiting.

However, some of the Protestant Electors stayed away from the meeting in protest at the Edict and others demanded, in exchange for supporting his son, that the Emperor sack his hugely successful but contentious general, Wallenstein. Reluctantly, Ferdinand did so, a victory for the dissident Electors and Protestant faction – and evidence for Wilson’s central thesis, that the war was more tied up with the complexity of the Imperial constitution and Imperial power than with religion per se, i.e. the Emperor could never just do what he wanted, but always had to work through the Reichstag, the Electors, the Estates and so on, in an ever-changing web of complicated negotiations.

Anyway, the second result was that the Edict provided the figleaf the king of Sweden, Gustavus Adolphus, needed for undertaking his invasion of north Germany.

The role of Sweden

As a newcomer to this vast and tortuous history, it’s hard to avoid the fairly simple conclusion that most of the war was Sweden’s fault. The Bohemians, the Danes and many of the Protestant states had been fought to a standstill by 1630, and the war could have been ended. Gustavus Adolphus’s invasion of north Germany meant that the war continued for another eighteen years – and, from what I understand, it was these later years which were by far the most destructive.

So the entry-level questions, for me, are: 1. why did Gustavus invade, and 2. – more importantly – why did the Swedes stay on in Germany for sixteen years after Adolphus died in battle in November 1632?

There appear to be three answers to question 1. Because Gustavus saw the chaos in north Germany as a) an opportunity to seize territory there and b) to consolidate Swedish control of the Baltic (against rivals Poland and Russia). And c) he and his chancellor, Axel Oxenstierna, presented themselves as ‘Champions of Protestantism’, rescuing the Protestant German states threatened by the Emperor’s Edict of Restitution (cynically or sincerely, who can say?).

So much for question 1. But it seems to me that the biggest question about the whole war is: Why did the Swedes stay on for a further 16 years, causing epic destruction and ruination across vast swathes of central Europe? The war caused devastation across all central Europe, but the Swedish armies alone may have destroyed up to 2,000 castles, 18,000 villages, and 1,500 towns in Germany, one-third of all German towns! They presented themselves as the champions of the Protestant cause, but in the final months before peace, the Swedes attacked and pillaged the area around Protestant Prague. Surely they weren’t ‘saviours’ but great destroyers?

(Wilson confirms my two-part interpretation on page 719, where he explains that, from Ferdinand’s point of view, the war fell into two parts – 1. the initial Bohemian rebellion which triggered revolts among various other Protestant rulers in Germany (namely the Palatinate and Saxony) and which was finally concluded with the Peace of Lübeck and the Restitution Edict); and 2. the Swedish part, by far the longest and most ruinous part.)

Historical events alongside the Thirty Years War

Eighty years war

Throughout the duration of the war, Spain was at war with the rebellious northern provinces of the Netherlands, although both sides managed to keep their conflict from the German war going on next door, even if there were localised incursions or aid, specially from the Protestant Dutch to some of the Protestant states.

British civil wars

In 1639, rebellion by Presbyterian Scots led to the First Bishops War, which triggered the descent of Britain into what is variously called the British Civil Wars or the Wars of Three Kingdoms (or the Great Rebellion by contemporary Royalists). It is fascinating to learn that irritation at Charles I’s support for the Emperor led Sweden to send arms and some officers to support the Scottish rebellion. (And also to learn that so many Scots served in the Swedish army, sometimes for decades, and had built up a wealth of practical knowledge of modern warfare. Meaning that, when in 1639 they returned to their homeland they were able to help Scotland thrash England in both Bishops’ Wars, 1639 and 1640).

I was also fascinated to read about two rebellions Spain faced, which added to her long-running war with the Dutch and the conflict with France. These were the rebellions of Portugal and Catalonia.

Portugal

The Portuguese rebelled in 1640, in what became known as the Portuguese Restoration War and lasted until 1668, eventually bringing an end to the union of the Spanish and Portuguese crown (the Iberian Union) and establishing the House of Braganza as Portugal’s new ruling dynasty, replacing the Spanish Habsburg who had ruled the country since 1581. It was a member of this ruling dynasty, Catherine of Braganza, who Charles II of Britain married in 1662, soon after his restoration, thus acquiring the territory of Tangiers, not much money, and a wife who proved incapable of bearing an heir, thus indirectly triggering the eventual overthrow of the Stuart dynasty.

Catalonia

The Reapers’ War Catalan revolt sprang up spontaneously in May 1640, leading King Philip IV sent an army to suppress it, which sacked several Catalan towns before being defeated outside Barcelona. The French seized the opportunity to take the country of Roussillon from the Spanish and sent arms and soldiers to help the Catalans in exchange for which the Catalans half-heartedly accepted the French king Louis XIII as King of Catalonia. The rebellion dragged on until 1659 when it was wound up as part of the wider peace settlement between Spain and France (the Peace of the Pyrenees).

Brazil

A small but fascinating sidelight is Wilson’s detailed account of the rivalry between the Dutch and the Portuguese in Brazil. Basically the Dutch in the 1630s confidently seized a lot of Portugal’s colonial holdings, but Portugal fought back, retaking most of the colony, leaving the Dutch to concentrate on their new colonies in the East Indies.

The Peace of Westphalia

One of the most fascinating aspects of the Thirty Year War was its conclusion, and the long peace conference which led up to the Treaty of Westphalia. Wilson makes the – to me – fascinating point that the peace conference invented the model of international negotiation which was consciously copied at all complex European peace negotiations ever since, at Utrecht in 1714, the Congress of Vienna in 1815, at the Versailles Conference in 1918-19 and which underpins the modern system reflected in the United Nations.

Early modern society was utterly drenched in the notion of hierarchy, starting with God at the top and moving down though his Son, to the angels, to the created world which had Christian kings at the top and their aristocrats, sharing top billing with the Pope and the top notables of the church on one wing, before finally reaching the urban bourgeoisie, and so on down to the peasants, squatting at the bottom. Then the animals.

In this hierarchical view, various nations of Europe fiercely competed to be Top Dog, which in their world meant being the Most Christian nation. It was a status claimed by Spain whose monarchs, after Ferdinand and Isabella had expelled the last Arabs in 1492, thus winning the title of Their Most Catholic Majesties – but also claimed by the Holy Roman Emperor who thought of himself as the Protector of all Christendom – while French kings tried to dignify themselves as the Arbiters of Christendom, and so on.

Certainly, there were lots of flunkeys and carriages and servants and grand display at the peace conference venues in the two Westphalian cities of Osnabrück and Münster. And yet, when it came down to negotiating, the various powers (chief among them the Emperor, Spain, France and Sweden, but also the Electors and other key German princes) were forced to acknowledge the interests and concerns of each other as free and independent entities.

In other words, through the long course of the negotiations (which began in 1643, and so lasted some five years) the conflicting parties were forced to abandon the Early Modern theory of Hierarchy, and adopt what we think of as the Modern Theory, that all nation states are free and independent, have absolute rights and interests and must be negotiated with as individuals.

The positive interpretation of Westphalia regards it as the birth of the modern international order based on sovereign states interacting (formally) as equals within a common secularised legal framework, regardless of size, power or internal configuration. (p.754)

The Emperor could no longer intimidate his dependent states with fine words and a big crown, but had to address their anxieties and requirements.

The final deal consisted of two treaties: the Peace of Osnabrück in which the Emperor settled all issues with Sweden and the states within the Empire, and the Peace of Münster, which settled outstanding issues with France, although carefully excluding the duchy of Lorraine which remained occupied by French troops (p.747).

Devastation and disease

The Thirty Years War became a byword for savagery and brutality even while it was going on. Contemporary accounts emphasised the burning and looting, raping and casual murders which infested the territory, and many artists captured this in disturbing visual form, such as the contemporary engravings of Jacques Callot.

Pillaging a house, plate 5 from the engraving series The Miseries and Misfortunes of War by Jacques Callot (1633)

(Other artists who documented the atrocities of war include Valentin Wagner, Rudolf Meyer and Pieter Snayers.)

But as you might expect, Wilson takes a sophisticatedly revisionist attitude to this as to every other aspect of the war. He labels the view that the war was an unmitigated catastrophe the ‘Disastrous War’ school of thinking, pointing out that different regions had widely differing experiences, which also varied over time. He takes a long cold look at the figures, pointing out all kinds of problems with contemporary records and definitions (for example ’cause of death’).

Nonetheless, it is clear that some regions of Germany saw a loss of 50% or more of their populations. There is agreement that some areas didn’t see a return to their 1618 population figures until 1710 or 1720 (p.795).

It used to be said that around a third of the total population of the Empire perished, but more recent figures revise this down. Still, to put it in context, Wilson points out that the Soviet Union is widely seen to have suffered extraordinary levels of death and devastation as a result of the 1942 Nazi invasion – yet fewer than 12% of the population perished. So even a ‘low’ estimate of 15% of the Empire perishing implies spectacular destruction.

But for me the standout insight is the usual one about almost any war, even into modern times:

Disease proved more potent than muskets, swords and cannon. (p.790)

And again:

The pattern of civilian deaths conforms the general picture of military casualties. Disease was the main killer. (p.792)

Human societies are very fragile things, often only just about able to provide food, clean water and sewage facilities for their existing populations. The second you start a war, and start displacing people, you interrupt the growth, harvesting and distribution of food and deprive people of clean water and sewage facilities. Within days populations begin to starve and become prey to waterborne diseases like typhoid and dysentery.

Human efforts are feeble compared to the forces of nature which are poised all around to massacre us as soon as we let our highly organised but fragile defences slip. This felt like a slightly eccentric minority view till the spring of this year. Hopefully now everyone can agree with it.

Anyway, the usual diseases of war (typhoid, dysentery) were compounded by plague, still a common disease and one which ravaged specific areas. Beyond the bounds of the war, large parts of Italy were decimated by plague in the 17th century, but troops of dirty soldiers traipsing all across the Empire brought it too, and some areas of Germany were laid low. As a tiny example, Wilson describes the town of Ingelfingen where 241 people died in 1634, of whom precisely 7 died during its violent capture but 163 died of plague. 20 times as many.

Although, even here, Wilson is cautious and careful, making the good point that a large number of these people might have died anyway, because plague recurred at ten-year periods throughout Europe. How many died of illnesses they would have got anyway, and how many died because the privations of living in a warzone made them susceptible? Contemporary records are not sophisticated to let us calculate.

Summary

I found this a very hard book to read.

Long

Partly because it’s long, very long – very, very long – and very detailed, so it is easy to put down, then pick up again and have completely forgotten where you were and who Maximilian, Frederick or the Elector Georg are, or which precise part of Germany their armies are tramping over and where they’re headed and why.

Writing about war requires special skills

Eventually I came to realise that Wilson doesn’t write about war very well. Max Hastings or Anthony Beevor manage the brilliant trick of giving a full and clear explanation of the high-level reasons for a war and the strategic changes and developments which develop as a result, alongside brutal eye-witness accounts which convey the fury and horror of individual battles. They clearly signpost key moments, key personalities and key decisions so that they stand out amid the endless sequence of events.

Not enough signposting of key events

Reluctantly, I came to the conclusion that Wilson can do neither. On page after page I found myself lost or confused as I read that Georg marched east to take the three main towns of Upper Saxony while Tilly was heading west to join up with the forces of Wallenstein who had recently seized the imperial cities of x, y and z. There are literally hundreds and hundreds of pages made up of prose like this.

The truce allowed Oxenstierna to move Lennart Tortensson and 9,700 men from Prussia. These troops began arriving in Pomerania in late October 1635 along with a morale-boosting delivery of new clothes for Banér’s ragged army. Tortennson’s units surprised Marazzino, prompting Johann Georg to fall back to protect Berlin in December, while Banér retook Werben and relieved Magdeburg in January 1636. The unpaid, hungry Saxons retreated to Halle. (p.578)

Maybe I’m dim, but by the end of this sentence I was thoroughly confused, and there are hundreds and hundreds of pages just like it.

Ferdinand regarded the third army of the Guelphs as already lost. He formally enfeoffed the elector of Cologne with Hildesheim on 22 August, and authorised Hatzfeldt to enforce this in October and compel the Guelph troops to join the imperial army. Piccolomini had already moved his 15,000 men from Luxembourg in September to assist. Duke Georg responded by tightening his mutual defence pact with Hessen-Kassel on 9 November, while Melander broke the Hessian truce to capture Bielenfeld. (p.617)

All these endless troop movements eventually blurred into one, and I lost any sense of why they were important, who their leaders were and where any of these places were. At first I thought it was me, but eventually concluded it is Wilson.

Suddenly out of the blue he’ll mention that all this marching has led up to one of the key battles of the war or marked some decisive turn — but there isn’t nearly enough scene-setting or signposting in the text. He doesn’t prepare us for the Big Events well enough, and then doesn’t bring out their consequences fully enough. I began to drown in the endless tide of detail.

When I did an apprenticeship in journalism, years ago, this was called ‘burying the lead’. If something Big happens you make sure it is flagged up with a headline and a clear statement of the main event at the top of the copy. The headline and the opening sentence grab you and convey the key information.

The most glaring example of Wilson’s failure to think or write dramatically is the following. The Emperor Ferdinand II was the leading figure of the war from his accession in 1619. He is mentioned on every page, it is he who makes key decisions large and small, appoints generals, sets strategy and negotiates with other states and rulers. Ferdinand is the dominating figure of the narrative and the war. And yet his death only casually mentioned in parentheses on page 586.

Archduke Ferdinand was duly elected as King of the Romans on 22 December 1636 (just in time, because his father died a month after the congress closed).

That’s it, that’s all you get on the passing of this gigantic figure, and then the tide of details flows on as if nothing had happened. There is no build-up, no lead-up to this signal event – not even any explanation what Ferdinand died from, no mention of a funeral, no summary of what he had achieved during his reign. It’s a quite astonishing dereliction of the historian’s responsibility to explain.

Same happens with two other massive figures, Cardinal Richelieu of France and the French King Louis XIII, whose deaths in 1642 are briefly mentioned in the same sentence before the text moves briskly on with no mention anywhere of their importance, what their goals were and whether they achieved them, their responsibility in the war. Nothing.

It is a staggeringly cavalier attitude, and a prime example of the way Wilson is not writing history in a way designed to engage you with individuals and personalities, to make the story exciting or gripping, but with other aims in mind.

Wilson’s revisionist intentions

Part of the reason for this lack of good storytelling is that Wilson is more of an academic writer than Hastings or Beevor. You feel he is not setting down the welter of details in order to tell a good story, but because Wilson wants to make academic points. You begin to realise his primary motivation is overturning ‘traditional interpretations and asserting his revisionist account.

And you begin to recognise the moments when he does this as they all follow a similar template or formula – he writes that so-and-so event is usually interpreted as meaning x, but that he is going to reinterprets it as meaning y.

The general conclusion is that Wallenstein represented the last of the condottiere, or great mercenary captains who emerged in the Italian Renaissance. Such figures are thought to represent a transition in historical development as expedients employed by states until governments were capable of organising armies themselves. This is misleading. (p.542)

Or:

The war is customarily portrayed as entering its most destructive and meaningless phase after 1640, as it allegedly descended into ‘universal, anarchic and self-perpetuating violence.’ The development is often attributed to the deaths of the ‘great captains’ like Gustavus, Wallenstein and Bernhard, and is associated with the supposed internationalisation of the war… Much of this is a myth. (p.622)

In other words, for Wilson the text doesn’t exist as a dramatic story studded with key moments which represent massive historical and cultural turning points (like the Czech defeat at the Battle of the White Mountain or the death in battle of Gustavus Adolphus or the murder of the legendary Imperial general Wallenstein). These highly dramatic moments are almost peripheral to his real concern which is to take on the received ideas and interpretations of previous historians and to give key moments his own interpretation.

Thus in chapter 21, towards the end of the book, Wilson goes to great lengths to proves that, far from leaving the Empire a ‘hollow shell’, as many, especially 19th century critics of the treaty claimed, it in fact rejuvenated the Empire,

injected new life into its constitution and strengthened its political culture. (p.778)

But there’s another problem with this approach, beyond making the book lack narrative drive and consistently failing to signpost key moments so that the book ends up feeling like one damned thing after another for 850 pages of dense and detailed text.

This problem is that, to really get the most out of his new takes on old issues – to really understand how Wilson is upending traditional interpretations and giving new readings and slants on well-known events, people or policies – you have to know what the traditional interpretations are.

You have to have a good grasp on how historians have traditionally interpreted, say, Wallenstein’s character or Gustavus Adolphus’s motives, in order to really appreciate how Wilson is giving them a new interpretation, but the feeling that this would help your understanding of what Wilson is trying to do adds to the levels of complexity and slight anxiety I experienced reading his book.

This is, quite simply, asking too much of the average reader – that they should have a detailed enough knowledge of the traditional picture of the Thirty Years War in order to appreciate Wilson’s innovations and new readings.

Wilson’s interest in the finances of the war

Just a mention that Wilson’s book is very, very thorough about the financial aspects of the war. He devotes a great deal of space to the ongoing financial tribulations of the Emperor, and the kings of Spain, France, Denmark and Sweden. He explains how they all had to borrow to finance the war, and then were reduced to various extreme expedients, raising taxes, extorting money from conquered territories, looting gold and silver, squeezing Jewish financiers, a whole range of desperate measures, to pay the money back, and often never did.

Towards the end of the book he has a fascinating passage about the so-called ‘Kipper and Wipper’ hyperinflation which afflicted the Empire as states debased their currencies to pay for the exorbitant costs of war, which itself mostly meant paying the wages of the huge numbers of mercenary troops employed by both sides (pp.795-798).

Included in this theme is the fascinating fact, which I knew from other sources but still blows my mind, that although Spain was extracting huge amounts of silver from its mines in the New World (working to death slave labour populations of local Indians and then importing African slaves to carry out the work) it still managed to go bankrupt repeatedly throughout the later 16th and most of the 17th century. Basically, the Spanish Empire wasted all that treasure and more, on its stupid, futile wars, chief of which was trying to suppress the Protestant Dutch for 80 years. An epic example of historic futility.

Back with Wilson’s focus on finances, his summary of the Westphalia settlement includes a detailed consideration of the demobilisation of the troops of all sides stationed in garrisons, castles and cities all over the empire, and the cost of demobilisation. Peace treaties of the time usually included a so-called ‘satisfaction’ money i.e. money given by the loser to the victor to pay off his armies. Earlier in the book, Wilson explained the fascinating fact that it was often difficult to end local conflicts and even entire wars, because armies refused to be demobilised until they were paid.

This book contains an astonishing amount of information and shows an encyclopedic knowledge of the myriad of issues and subjects involved in the history of the period.

Lack of maps

Finally, it is a scandal that an 850-page-long book about the most complicated conflict in European history has precisely one map. And quite early on I realised that many places mentioned in the text aren’t even on it. This made it difficult-to-impossible to understand page after page after page of the text which describes this army marching from x to y via the river z, and meeting up with the army of p near the town of m not far from the lake of c — if none of these places are indicated on the book’s one and only map.

Of course, you can try googling all these placenames and, sure enough, find the places on Google Maps (although sometimes the names have changed and it takes a while of checking and double checking to be sure you’ve got the right one). But of course Google Maps doesn’t show the way the territory looked in the 17th century, nor does it show you the route of the complicated army manoeuvres you’ve just read about, or where the armies camped or set up and fought, or anything that you really need to see in order to understand the text.

The complete impossibility of establishing where half the things Wilson was describing were taking place was another big reason why the text eventually became a blur of similar-sounding names and places which became impossible to keep track of.

Conclusion

This book is an awe-inspiring achievement. To have reviewed so much material, to have consulted so many sources, in so many languages, in so many libraries, and to have mastered the early modern history of almost all European countries, and not least the terrifying complexity of the Holy Roman Empire and the complex web of power structures whose failure helped to trigger the war – and then to set it all down into an enormous, lucid, calm, reasonable, well-judged and balanced account like this is an awesome, almost a supernatural achievement.

Nonetheless, my conclusion would be that you should only consider reading this book if you want a really, really, really detailed account of the minutiae of the Thirty Years War, complete with academic reassessments of received historical opinions, and stripped of almost all excitement, drama and interest.

For most normal people, reading the Wikipedia article about the war (and all the related conflicts and key figures) will be more than they’ll ever need to know.

Video

Here’s a video of Peter H. Wilson himself delivering a lecture about the war. The main thing that comes over in this lecture which isn’t obvious from his book, is his simple explanation of why the war lasted so long, which is that both the Dutch and the French wanted to prevent it ending, for if it ended, the Austrian Habsburgs would be in a position to fully support their Spanish cousins to finally defeat the Dutch rebels.

Obviously the Dutch didn’t want this to happen, but neither did the French who were worried about being surrounded by Habsburgs to the south, east and north – and so first the Dutch and then, increasingly, the French, subsidised first the Danish intervention, and then the longer-lasting Swedish invasion of the empire, and then finally, the French themselves became directly involved in the war in 1635.

Appendix. Where does the word ‘Protestant’ come from?

A ‘diet’ or imperial conference was convened at the city of Speyer, in Germany in 1529. Its aims were:

  1. organising the German states to deal with renewed Ottoman Turkish attacks in Hungary
  2. to settle the religious question

The Holy Roman Emperor Charles V, himself a devout Catholic, was prepared to take a conciliatory approach to the Empire’s princes and dukes who had converted to the new ‘reformed’ religion of Martin Luther. But the diet was managed by his brother Ferdinand who took a harsher, non-negotiable line. He condemned all those princes who had interpreted a previous diet held at Speyer just three years earlier as allowing them to choose what religion was practiced in their states. No, they couldn’t, Ferdinand said. On the contrary, Ferdinand ordered that all states within the Empire must follow Catholicism, that all church reforms must be scrapped, and that any further reform was punishable by death. The Lutherans’ lives were to be spared, but more radical reformers like Zwinglians and Anabaptists were simply to be executed out of hand. Ferdinand and the Catholic rulers present – the majority – voted for these proposals.

The Lutheran members of the Diet (namely the rulers of Saxony, Brandenburg, Braunschweig-Luneburg, Hesse, Anhalt and the representatives of fourteen imperial cities) entered a formal protest against the decision and appealed to the Emperor Charles V (who had not attended the diet) to reverse its dictates.

Their protest against the harsh results of the second Diet of Speyer led to them becoming known as the protestors or the Protestants and the name became attached to all followers of reformed religion, whatever their precise theology or practice.


More seventeenth century reviews

The Rover, or The Banished Cavaliers by Aphra Behn (1677)

‘I know not what thou mean’st, but I’ll make one at any Mischief where a Woman’s concerned’
(Willmore, the Rover of the title)

Aphra Behn (1640 to 1689) is generally considered the first professional woman writer in English literature. She wrote poems, essays and prose narratives but in her own day was best known as the author of some 18 plays, indeed she was second only to the poet laureate John Dryden in terms of theatrical productivity. The Rover is by common consent the most polished and entertaining of her plays.

In fact The Rover comes in two parts, each a self-contained five-act Restoration comedy. Part two contains some though not all of the same characters and so is a sequel, though it was never as popular as the original. Both were heavily plagiarised from a similarly two-part, ten-act play, Thomaso, or The Wanderer, written by the Royalist exile and companion of Charles II, Thomas Killigrew. Thomaso was never performed onstage but was published in 1663 to 1664. Behn comprehensively rewrote it, turning its turgid style and long wordy speeches into brisk comic dialogue.

The argument

The Project Gutenberg online edition is prefaced by a prose summary of the plot. Here it is with my additions and comments:

During the exile of Charles II a band of cavaliers, prominent amongst whom are Willmore (the Rover), Belvile, Frederick, and Ned Blunt, find themselves at Naples in carnival time. Belvile, who at a siege at Pamplona (in Spain) has rescued a certain Florinda and her brother Don Pedro, now loves the lady, and the tender feeling is reciprocated. Florinda’s father, however, designs her for the elderly Vincentio, whilst her brother would have her marry his friend Antonio, son to the Viceroy.

Belville, Fred and Blunt greet Willmore who has just arrived by boat in Naples in company of ‘the Prince’ (the implication being the exiled Charles II). Florinda, her sister Hellena (who is intended for the veil i.e. to become a nun), their cousin Valeria, and their duenna Callis surreptitiously visit the carnival, all in masquerade, and there encounter the cavaliers. Florinda flirts with Belvile and arranges to meet him that night at her garden-gate. Willmore is bewitched by the ready wit of Hellena who is pretending to be a gypsy.

Meanwhile a picture of Angelica Bianca, a famous courtesan, is publicly exposed, guarded by bravos. Antonio and Pedro dispute who shall give the 1,000 crowns she demands for her ‘favours’, and draw swords. After a short fray Willmore, who has boldly pulled down the picture, is admitted to the house, and declares his love, together with his complete inability to pay the price she requires. Angelica, none the less, falling in love at first sight, yields to him.

Hellena and Florinda appear in the street below, the latter mocking Hellena for so suddenly and completely falling in love with the man she briefly met earlier (Willmore). Belvile and pals arrive, knock at Angelica’s door and get Willmore sent out to them. Wilmore makes it plain he has slept with Angelica. Hellena, eavesdropping, hears all this from a hiding place and is heart-broken, but when she confronts him Willmore outfaces the situation and resumes his ardent courtship of her, which is detected by the jealous Angelica, who has followed him vizarded.

In the same scene Florinda in disguise had approached and talked to Belvile, trying to seduce him, but found him loyal to the women he’s in love with which, she realises, is her. She gets him to promise to meet her in ‘the garden’ that evening and leaves a pledge with her which he realises, once she’s gone, is a little picture of his beloved.

A comic interlude in which simple honest Essex gentleman Ned Blunt is enticed back to her house by a very willing whore, Lucetta, who lures him up to her bedroom, where she hops into bed and asks him to strip off, which he promptly does. But as he stumbles towards her a) the lights go out b) the bed moves (a piece of comic mechanism) and c) Ned tumbles through a trapdoor down into a sewer – leaving Lucetta and her pimp Philippo to count the gold they find in Blunt’s clothes. The scene cuts to New Blunt emerging from the mouth of the sewer, very smelly and very sorry.

Florinda that night goes to the garden gate to meet Belvile, but encounters Willmore who is drunk and tries to ravish her. Her cries attract Belvile and Fred, who interrupt drunk Willmore, but then immediately her brother, Don Pedro, and the servants. Florinda just has time to tell Belvile to come back and loiter under her bedroom window later, before she escapes back into the house where she pretends to be fast asleep. Don Pedro and servants beat off Willmore et al who run away.

Willmore has to endure the reproaches of Belvile, who is furious with him for assaulting his beloved. They have wandered to the front of Angelica’s house, where they hide as Antonio approaches and makes as about to enter the house. Because he still feels linked to Angelica Willmore staggers forward and attacks Antonio with his sword, wounding him, before reeling offstage. Belvile goes to Antonio‘s aid just as officers run up and arrest him, conveying him by Antonio’s orders to the Viceroy’s palace.

Antonio comes to Belvile in his cell, with his arm in a sling, and they make friends, Antonio asks Belvile to wear a mask (vizard) and impersonate him in a duel he has to fight with Florinda‘s brother, Don Pedro. Florinda intervenes to part them and Don Pedro gallantly assigns his sister to him thinking he is Antonio(Florinda refuses to be bullied but then Belvile pulls up his mask and reveals to her it is him.) But just as things are panning out well, Willmore staggers up and knocks Belvile’s mask off, Don Pedro realises it is he, and drags Florinda away.

Belvile is even more furious with Willmore and when he won’t stop talking, draws his sword and chases him offstage.

Angelica next comes in hot pursuit of Willmore. She accuses him of faithlessness, he gets bored and wants to hasten off to an appointment with the ‘gypsy’. They are interrupted by the ‘gypsy’ – in reality, Hellena, who arrives dressed as a boy. She tells a tale of the Rover’s amour with another dame and so rouses the jealous courtesan to fury, with Willmore intervening and beginning to suspect this young lad is Hellena. These scenes are getting confusing. Willmore makes excuses and leaves Angelica lamenting that all her beauty cannot hold such a treacherous man.

Florinda, meanwhile, who has escaped from her brother, running into an open house to evade detection, finds herself in Ned Blunt’s apartments. Blunt is sitting half-clad in a very angry mood, reflecting on having been stripped and duped by the whore Lucetta. Florinda throws herself on his mercy but he vows to use and abuse her:

Cruel, yes, I will kiss and beat thee all over; kiss, and see thee all over; thou shalt lie with me too, not that I care for the Injoyment, but to let you see I have ta’en deliberated Malice to thee, and will be revenged on one Whore for the Sins of another; I will smile and deceive thee, flatter thee, and beat thee, kiss and swear, and lye to thee, imbrace thee and rob thee, as she did me, fawn on thee, and strip thee stark naked, then hang thee out at my Window by the Heels, with a Paper of scurvey Verses fasten’d to thy Breast, in praise of damnable Women

Enter Fred who begins to believe Florinda‘s protestations, especially when she mentions Belvile and how he will thank them if they are kind to her. Hmm. Blunt‘s determination on revenge is mollified by the present of a diamond ring, but at this moment a servant announces his friends and Don Pedro are arriving, so they lock Florinda away.

Belvile had told him Don Pedro that Blunt was a fool and would be a good source of amusement. Now, despite his protestations, they break down the door to his rooms and, sure enough, all have a good laugh at Blunt’s expense. But he insists he’s going to have the last laugh and take it out on another Italian whore. But when he shows them the diamond ring Florinda gave him, Belvile immediately recognises it as the love token he gave Florinda much earlier in the play. However, the rest of the company are determined to ‘enjoy’ her as much as Blunt, and in fact draw straws in the shape of drawing their swords to find out whose is longest. Ironically, it is Don Pedro‘s who is promptly sent into the room where Florinda is hiding in order to ravish her – his own sister! Florinda comes running out pursued by Don Pedro, but she is in disguise and he doesn’t recognise her.

A servant arrives and tells Don Pedro his sister is not safe at home – as he thought – but has run off dressed as a page. He makes his excuses and leaves. The moment he’s gone Belvile acknowledges Florinda, they leap into each other’s arms, Willmore says, so this is the woman you’ve been pining for all along’, Fred begs her pardon. A boy is sent out to fetch a priest and Florinda and Belvile go into the other room to be married.

They leave Willmore to protect the pass in case anyone arrives to interrupt the ceremony but who arrives is Angelica in disguise. Willmore totally gives himself away by excitedly hoping it is his ‘gypsy’ i.e. Hellena. Infuriated, Angelica puts a pistol to his chest and is about to shoot him dead. She follows him round the stage as he outdoes himself with a stream of justifications of the cynical debaucher’s attitude.

To everyone’s surprise Antonio walks in, still wearing the sling from where Willmore wounded him last night and takes the pistol off Angelica. But when he realises the man she was threatening is his attacker from last night, he himself threatens Willmore. At which moment Don Pedro enters and overhears Angelica and Antonio declaring their love. Antonio! The man he intended to marry his sister, Florinda!

Also Don Pedro is angry because he challenged Antonio to a duel and Antonio sent a deputy, an impersonator in disguise, who turned out to be Belvile, his own rival. Don Pedro is angry with him and say, as soon as his arm has recovered, he’ll challenge him to another duel. He leaves and Pedro says he is so angry with the man whose cause he tried to promote, he is in a mood to give his sister to Belvile.

Funny you should say that, says Willmore – they are in the other room and have just got married. At which point they emerge and Pedro gives Belvile and his sister his heartiest congratulations. They exit and Willmore is about to follow them when he is accosted by Hellena. There follows a really long dialogue of wits, and he finds he is attracted to her wit and intelligence. He discovers he is ready to marry her. In a comic moment he asks if he may know her name.

The rest of the cast re-enter and Pedro is initially furious that his other sister is being ravished away, the one intended for a nunnery but, in another comic moment, bold Hellena asks the cast whether she should throw in her lot with Heaven or with the Captain:

Hellena: Let most Voices carry it, for Heaven or the Captain?
All cry: a Captain, a Captain.
Hellena: Look ye, Sir – ’tis a clear Case.

Enter Ned Blunt looking ludicrous in a badly fitting Spanish outfit, to give everyone a laugh.

Then enter a group of mummers passing by to the masquerade, who are invited in to play music and dance, thus rounding the play out with music and gaiety.

And the very last lines are to Willmore, the rover himself, as he leads Hellena into the adjoining room to be married.

Willmore: Have you no trembling at the near approach [of marriage]?
Hellena: No more than you have in an Engagement or a Tempest.
Willmore: Egad, thou’rt a brave Girl, and I admire thy Love and Courage.

Lead on, no other Dangers they can dread,
Who venture in the Storms o’ th’ Marriage-Bed.

And thus this convoluted series of shenanigans comes to an end. It is obviously designed to amuse a sophisticated London theatre audience, a large part of which would be precisely the kind of amoral aristocrats the play depicts, so they would enjoy seeing their lifestyle depicted on stage – while others would enjoy moralising about them.

The gossip instinct

It struck me the play is a kind of concatenation of gossip in the sense that

  1. the characters on stage spend almost all their time gossiping about each others affairs’
  2. they spend a lot of time pondering and reflecting and – in effect – gossiping about their own affairs
  3. and this complicated spectacle prompts members of the audience, or readers, to gossip about the gossip – to approve or disapprove of Willmore, to opine that Florinda is too hard or too soft etc

You know the magazines you get at supermarket checkouts which are stuffed full of stories about the stars of TV soaps or presenters of Good Morning Britain or Loose Women, the endless supply of tittle tattle about celebrities going out, getting married, getting pregnant, being unfaithful, splitting up with their partners, getting back together with their partners? Well – it’s like them.

The academics who introduce plays and texts like this are paid to write about them in terms of ‘gender representation’ and ‘female agency’ and ‘women’s empowerment’ and Restoration ‘misogyny’ and the handy cover-all term, ‘The Patriarchy’ (all these terms can be found in the Oxford World Classics introduction to The Rover).

I don’t deny that these are real things, are valid ideas, interpretations, and worth exploring – although the solid wall of feminist interpretation laid over everything like carpet felt, does often get very monotonous, monoglot and wearing.

But I’m suggesting something much simpler and more obvious. These plays – Restoration plays – full of theatrical artifice, 18th century language and elaborate games as they may well be – also appeal to the basic human instinct for Gossiping. They cater to the same love of judging and moralising about other people’s (‘ooh that Willmore!’) as the endless celebrity tittle-tattle which fills the Daily Mail.

Comedy

Also, it is easier to moralise and judge than to write about humour. It is notoriously difficult to write about comedy – to convey in a flat essay the thousand and one things which make an audience smile or laugh, from ironic asides, tone of voice, sarcasm, pratfalls, bathos, grotesque characters, comic mistakes, comic business with props, gags with punchlines and so on.

Much easier to grandly state that a narrative ‘subverts’ 18th century ‘gender stereotypes’ – any schoolgirl can write that kind of thing these days, it’s taught at GCSE and A-level and at university: anybody writing like that is just faithfully parroting what their teachers taught them degree level. Much harder to pinpoint just why The Rover is the brightest and funniest of Behn’s plays.

For example, when Hellena points out that aged Don Vincenzio may increase Florinda’s ‘Bags but not her family‘ I take it as a sly dig at his probable impotence, to be said with a knowing leer to the audience to trigger a fnah fnah laugh. Or, in the same speech, Hellena vividly pictures the scene as her young sister is forced, night after night, to accompany the aged Don Vincencio to his bed. After she has performed the disgusting task of undressing him…

That Honour being past, the Giant stretches it self, yawns and sighs a Belch or two as loud as a Musket, throws himself into Bed, and expects you in his foul Sheets, and e’er you can get your self undrest, calls you with a Snore or two – And are not these fine Blessings to a young Lady?

What middle-aged wife would not recognise this unflattering portrait of her husband? It reminds me of the jokes about unromantic age which fill the TV series Last of The Summer Wine

Clichés and conventions

Italy

It is set in Italy. The wickedest reprobates and comic plots are always Italian (cf Shakespeare comedies with their endless Antonios). In fact, there are multiple reasons for its foreign locatio:

– The nations of Europe (and of Britain) were freely stereotyped. Italy was thought to have very devious and sophisticated people – suiting both comedies or tragedies that depended on plot devices like deception and treachery

– Italians were thought to be more hot-blooded and passionate than the phlegmatic Brits (a belief which runs through the 18th and 19th centuries, underpins countless novels and continues, in some quarters, up to this day) – thus allowing for a degree of sexual passion which might not be believable in Brits

I like their sober grave way, ’tis a kind of legal authoriz’d Fornication, where the Men are not chid for’t, nor the Women despis’d, as amongst our dull English;

– Italians were popularly known for their violence – always quick to grab a sword or dagger – as in Romeo and Juliet

Yes: ’Tis pretty to see these Italian start, swell, and stab at the Word Cuckold,

– The weather is better in Italy – so the people are more often outside – in gardens, streets and so on, bumping into each other and thus providing the potential for countless complicated comic permutations. It never rains in plays like this as, of course, it regularly rains in England, keeping people trapped moodily indoors.

Blunt: What a Dog was I to stay in dull England so long

– Also there was the simple pleasure that it was a foreign country with an exotic language, food, customs etc there was a sort of mental tourism in seeing plays in Italy

Faith I’m glad to meet you again in a warm Climate, where the kind Sun has its god-like Power still over the Wine and Woman.

Spain

Same sort of thing –

Belvile: Remember these are Spaniards, a sort of People that know how to revenge an Affront.

But with the difference that Britain had little or no military or geographical interest in Italy, whereas we were at war with Spain for a good deal of the 16th century and were major rivals for imperial territories, for example in the Caribbean. Behn has the whore Lucetta’s pimp Philippo find gold pieces from ‘Old Queen Bess’s reign in Ned Blunt’s waistband and comment:

We have a Quarrel to her ever since Eighty Eight, and may therefore justify the Theft,

I.e. the character is made to say that the Spanish have had a quarrel with the British since 1588, the year of the Spanish Armada, the attempt at an amphibious invasion of England which was designed to overthrow the Protestant queen and impose a Catholic Spanish dictatorship, all blessed by the Pope. The Armada had taken place about 70 years before the play’s production, so the same length of time as separates us from the Second World War, which we still remember and commemorate.

Therefore English writing about Spain often has a more bitter or harder edge, whereas Italy had and still has, fewer negative connotations. So it is a little notable that so many of the actual characters are Spanish. Still, the same hot-blooded, exotic rules apply.

English

Also, being set abroad allows some of the characters to ridicule the home audience, the English, which is also humorous.

This is a stranger, I know by his gazing; if he be brisk he’ll venture to follow me; and then, if I understand my Trade, he’s mine: he’s English too, and they say that’s a sort of good natur’d loving People, and have generally so kind an opinion of themselves, that a Woman with any Wit may flatter ’em into any sort of Fool she pleases.

Which might have brought ironic cheers from the London audience.

Young woman struggling to be free

A young woman is being forced to marry an old man by her wicked father for the money (Florinda being hustled to marry aging but rich Don Vincentio).

The young couple

Whereas the young woman wants to marry a dashing young hero: There is a pair of young lovers – Florinda and Don Belvile.

The confidante

The young woman has a comic confidante to provide a running comic commentary on the main action and make cynical asides and jokes. This leaves the heroine free to express only Noble and Dignified sentiments – in this instance the cynical humorous confidante is her sister Hellena.

The two couples

In fact, as the play unfolded I realised there are two couples. This, apparently, is a core, stock convention of Restoration comedy:

A particularly appealing feature is the contrast between two pairs of lovers. The ‘gay couple’ are witty and independent, with time to banter and tease their way to choosing a marriage partner. Through them, the complexities of commitment could be explored… The second couple are constant and unexciting. Their path to true love is thwarted by outside forces, usually in the shape of a blocking character – Don Pedro in The Rover…
(An Introduction to Restoration Comedy)

Rogue male

There is an outstanding, amoral, rakish, predatory male figure – Willmore, the Rover.

Thou know’st I’m no tame Sigher, but a rampant Lion of the Forest.

Haste

Things always have to be done in a hurry. This is itself a structural requirement of the theatre where it is difficult to convey the passage of months or years. Instead the action must follow pell-mell. Over and above the difficulty of conveying the passage of time, haste and deadlines also simply create tension, energy, dynamism – sweep the audience up in the action – and, of course, prompt the characters to all kinds of desperate behaviour they might not take. Thus when Don Pedro tells his sister, Florinda, that he wants to organise her marriage to young Antonio we can be confident it will trigger all kinds of desperate behaviour.

Dressing up

The masked ball or masquerade or disguise is a key element of comedy from ancient Rome to modern pantomime. The feminist scholars of the play get excited because the masquerade allows characters to ‘subvert the gender roles’ imposed on them by ‘misogynist Restoration society’. But in fact dressing up allows for two really basic elements of comic theatre, namely:

1. Freedom

You can get away with saying and doing things in disguise which you wouldn’t think of trying normally:

Will. But why thus disguis’d and muzzl’d?
Belv: Because whatever Extravagances we commit in these Faces, our own may not be oblig’d to answer ’em.

2. Comic misunderstanding

Where characters say things to each other which match the outfits and characters they’ve adopted, but are wildly inappropriate to the actual characters we – the audience – know them to be.

3. Serious understanding

Having read The Rover carefully it dawns on me that dressing up as someone else is also a way of discovering the real motives and character of the person you have designs on, as in the complex scene where Belvile dresses as Antonio and can sound out Don Pedro’s real character; or where Hellena dresses as a young man in order to assess Willmore‘s relationship with Angelica.

Also – people like dressing up for parties. It makes them feel special excited, in a party mood. Thus characters on stage – which have already been simplified and heightened for the audience’s enjoyment – become twice as simplified and heightened. Comedy squared.

Politics

Behn was a devoted Royalist. The play is set in the 1650s and Belvile, Willmore, Frederick and Blunt are all English courtiers in exile from the Roundhead, republican government of the Lord Protector Oliver Cromwell.

Gentlemen, you may be free, you have been kept so poor with Parliaments and Protectors, that the little Stock you have is not worth preserving—but I thank my Stars, I have more Grace than to forfeit my Estate by Cavaliering.

There are lots of little indications e.g. when Belvile introduces Blunt to Willmore as one of us’.

Belvile: Yet, Sir, my Friends are Gentlemen, and ought to be esteem’d for their Misfortunes, since they have the Glory to suffer with the best of Men and Kings; ’tis true, he’s a Rover of Fortune, yet a Prince aboard his little wooden World.

Class distinction

There is an interesting moment when Colonel Belvile gives a satirical portrait of Ned Blunt, one of their party for sure, but an honest country English gentleman who – it is implied – the more urban, worldly Belvile and Willmore despise.

Willmore: Prithee what Humour is he of…?
Belvile: Why, of an English Elder Brother’s Humour, educated in a Nursery, with a Maid to tend him till Fifteen, and lies with his Grand-mother till he’s of Age; one that knows no Pleasure beyond riding to the next Fair, or going up to London with his right Worshipful Father in Parliament-time; wearing gay Clothes, or making honourable Love to his Lady Mother’s Landry-Maid; gets drunk at a Hunting-Match, and ten to one then gives some Proofs of his Prowess—A pox upon him, he’s our Banker, and has all our Cash about him, and if he fail we are all broke.

As so often, the aristocracy are in reality dependent on the honest bourgeoisie – and despise them for it.

Fred: Oh let him alone for that matter, he’s of a damn’d stingy Quality, that will secure our Stock. I know not in what Danger it were indeed, if the Jilt should pretend she’s in love with him, for ’tis a kind believing Coxcomb;

Blunt: No, Gentlemen, you are Wits; I am a dull Country Rogue, I.

Nobody is surprised when honest Ned Blunt is swindled out of his diamond. He even hails from Essex which, right down to this day, 370 years later, is the butt of jokes.

Blunt: ’Tis a rare Girl, and this one night’s enjoyment with her will be worth all the days I ever past in Essex.—

Contemporary references

Moretta: He knows himself of old, I believe those Breeches and he have been acquainted ever since he was beaten at Worcester.

The Battle of Worcester, 3 September 1651 was the last battle of the Civil War.

Moretta: Oh Madam, we’re undone, a pox upon that rude Fellow, he’s set on to ruin us: we shall never see good days, till all these fighting poor Rogues are sent to the Gallies.

Consignment to galleys was a punishment.

Frederick: It may be she’ll sell him for Peru, the Rogue’s sturdy and would work well in a Mine;

The Spanish had used slave labour in their South American silver mines for over a century.

Blunt: I had rather be in the Inquisition for Judaism, than in this Doublet and Breeches

Tells us something about the reputation of the Italian Inquisition and its treatment of Spain’s Jews in the 1660s.


Related links

More seventeenth century reviews