The Renegado

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The Renegado, or The Gentleman of Venice^[1] is a late Jacobean stage play, a tragicomedy written by Philip Massinger and first published in 1630. The play has attracted critical attention for its treatment of cultural conflict between Christian Europe and Muslim North Africa.

The Renegado was licensed for performance by Sir Henry Herbert, the Master of the Revels, on April 17, 1624. It was acted at the Cockpit Theatre, and became the property of Queen Henrietta's Men once that company was formed out of the existing Cockpit troupe in 1625. The 1630 quarto was published by the bookseller John Waterson; it bears commendaory verses, including one by James Shirley, and Massinger's dedication to George Harding, 8th Baron Berkeley, who was a prominent literary patron of the day and the dedicatee of Burton's The Anatomy of Melancholy (1621) and Webster's The Duchess of Malfi (1623), among other works.^[2]

Massinger based the plot of his play on a novel by Miguel de Cervantes titled Los Baños de Argel, which had been printed in 1615.^[3]

The play is set in Tunis, in what is modern-day Tunisia; the title character, the "renegado" or renegade, is Antonio Grimaldi, who has converted to Islam and become a pirate. The true protagonist of the play, however, is Vitelli, a Venetian gentleman; he has come to Tunis disguised as a merchant, in order to search for his sister Paulina, who has been captured by Grimaldi's pirates and sold into the harem of the city's Viceroy, Asambeg. Even in the harem, however, Paulina's virtue in protected by an amulet she wears around her neck; Asambeg is infatuated with her and treats her with respect. A Turkish princess named Donusa falls in love with Vitelli; when this is discovered, they are both imprisoned in the Black Tower. Donusa tries to convince Vitelli to convert to Islam and marry her, and so gain freedom for them both; Vitelli refuses, and in their ensuing conversation converts Donusa to Christianity.

The renegade Grimaldi falls afoul of Asambeg's bad temper, and his career as a pirate is finished. He experiences remorse for his past, and engineers the escape of Vitelli, Donusa, Paulina, and himself from Tunis back to Italy.

Nineteenth-century critics tended to interpret the play's positive protrayal of a Jesuit confessor as a sign of Massinger's own supposed Roman Catholicism. The play's inclusion of a eunuch character has also drawn comment.

[edit] Notes

1. ^ The play's subtitle also serves as the title of a later play by James Shilrey; see The Gentleman of Venice.
2. ^ Vitkus, p. 340.
3. ^ Schelling, Vol. 2, p. 231.

[edit] Sources

• Fuchs, Barbara. Mimesis and Empire: The New World, Islam, and European Identities. Cambridge, Cambridge University Press, 2004.
• Garrett, Martin. Massinger: The Critical Heritage. London, Routledge, 1991.
• Schelling, Felix Emmanuel. Elizabethan Drama 1558–1642. 2 Volumes, Boston, Houghton Mifflin, 1908.
• Vitkus, Daniel J. Three Turk Plays from Early Modren England: Selimus, A Christian Turned Turk, and The Renegado. New York, Columbia University Press, 2000.