Philip Massinger

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Massinger, Philip

(măs`ənjər), 1583–1640, English dramatist, b. Salisbury. He studied at Oxford (1602–6) but left without a degree, apparently to go to London to write plays. A prolific writer, Massinger wrote more than 40 plays (often in collaboration). He is best known for the comedies A New Way to Pay Old Debts (1625) and The City Madam (1632), in which the gluttony of the two central characters leads to tragic consequences. His other extant works, most of which were produced between 1620 and 1630, include the romantic dramas The Duke of Milan and The Great Duke of Florence and the tragicomedies The Fatal Dowry (with Nathaniel Field), The Virgin Martyr (with Thomas DekkerDekker, Thomas,
c,1570–1632, English dramatist and pamphleteer. Little is known of his life except that he frequently suffered from poverty and served several prison terms for debt. He began his literary career c.1598 working for Philip Henslowe.
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), and The Bondman. A sober, meticulous writer, Massinger was a harsh moralist and frequently employed humorhumor,
according to ancient theory, any of four bodily fluids that determined human health and temperament. Hippocrates postulated that an imbalance among the humors (blood, phlegm, yellow bile, and black bile) resulted in pain and disease, and that good health was achieved
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 characters to illustrate the evils of a frivolous and avaricious society.


See studies by A. H. Cruickshank (1920, repr. 1971), T. A. Dunn (1957), D. Howard (1985), and D. Adler (1987).

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References in periodicals archive ?
The Royal Shakespeare Company's latest addition to the Gunpowder Season sees Ian McHugh filling in the missing segments of Philip Massinger's 1630 script.
Already up and running are added John Marston's "The Malcontent," John Fletcher's "The Island Princess" and Philip Massinger's "The Roman Actor," with Shakespeare discovery "Edward III" and the Ben Jonson/Marston/George Chapman collaboration "Eastward Ho!" to join the mix.
(a "city comedy"); Philip Massinger's The Roman Actor (a revenge tragedy); John Fletcher's The Island Princess (a lyrical "discovery play"); and John Marston's The Malcontent (which is rumored to "echo" Hamlet).
Thomas Heywood's Londons Ius Honorarium advises the new mayor to remain deaf to the temptations of high office: "Yet like Vlisses, doe but stop your eare / To their inchantments, with an heart sincere." [9] The jealous Honoria avers in Philip Massinger's The Picture: "If he shut his eares, / Against my Siren notes, Ile boldly sweare / Vlysses liues againe" (2.2.418-20).
(10) Eliot, "Philip Massinger," in Selected Essays, 182.
PHILIP Massinger once said: "He that would govern others first should be the master of himself."
The paradox of this first page is that Philip Massinger achieved renown during his lifetime and today is included in seventeenth-century studies.
The Moral Art of Philip Massinger does not reach any particularly surprising conclusions.
Stoll and Rupert Brooke that the source of the play's main plot was Philip Massinger's comedy The Parliament of Love, which was licenced on 3 November 1624.
Beaumont's hand also probably appears in three other plays written together with Fletcher and Philip Massinger.
Most of his plays, however, were written in collaboration: The Roaring Girl, with Thomas Middleton; The Virgin Martyr (c1620), with Philip Massinger; The Witch of Edmonton (1621), with John Ford and William Rowley; and The Sun's Darling (1624), with Ford.