The Revenge Tragedy flourished in Britain in the late Elizabethan and Jacobean period for both literary and cultural reasons. Thomas Kyd's The Spanish Tragedy (1587) helped to establish the popularity of the genre, and it was followed by The Revenger's Tragedy (1606), published anonymously and ascribed first to Cyril Tourneur and then to Thomas Middleton. George Chapman's The Revenge of Bussy D'Ambois and Tourneur's The Atheist's Tragedy were written between 1609 and 1610. Each of the four plays printed here defines the problems of the revenge genre, often by exploiting its conventions in unexpected directions. All deal with fundamental moral questions about the meaning of justice and the lengths to which victimized individuals may go to obtain it, while registering the social strains of life in a rigid but increasingly fragile social hierarchy.

Francis Bacon described revenge as a 'kind of wild justice'. Then as now, early modern playwrights and their theatre-going public were fascinated by the anarchic energies that a desire for retribution unleashes. Rather than rehearsing familiar conventions, each of these plays presents a unique social and cultural milieu where dark fantasies of revenge are variously played out. In Kyd's The Spanish Tragedy a grieving father seeks public justice for the murder of his son by envious princelings. When his attempts are thwarted he turns a court spectacle of murder into the 'real' thing. Blackly comic in its tone and style, The Revenger's Tragedy (anon.) presents vengeance as mimetic art, witty and cruel. Ford's 'Tis Pity She's a Whore represents an innovative re-working of the genre as a brother's love for his sister leads to his spectacular revenge on his rival, her husband, in a society in which brutal retaliation for perceived wrong is the norm. In Webster's The White Devil crimes of passion ignite revenge in the courts of the Italian city states. This student edition contains fully annotated, modernized texts of each play together with an introduction discussing the dramatic and poetic style of each play, focusing on its action and play of ideas.

The four plays in this collection are a representative collection of dramas that exhibits the development of the Jacobean era revenge play. In "The Spanish Tragedy" we find the aftermath of a conflict between the Viceroy of Portugal and the Spanish empire. The death of Spanish officer Andrea prompts Horatio, Andrea's best friend, and Bel-imperia, who was in love with Andrea against her family's wishes, to seek revenge against Andrea's murderer, Balthazar, the Viceroy's son. "The Revenger's Tragedy" follows the young son of an Italian duke through his attempt to revenge the death of an elder through the rape of the beautiful Gloriana. "The Revenge of Bussy D'Ambois" concerns the story of Clermont D'Ambois whose brother Bussy has been gunned down in an ambush. Clermont becomes involved in a relationship with Tamyra, Bussy's former lover, who urges Clermont to take vengeance on her husband Montsurry, who is responsible for Bussy's murder. In "The Atheist's Tragedy" we find the story of D'Amville, a wealthy French nobleman and our titular atheist. D'Amville is a cynical, ruthless, and Machiavellian character who conspires to have his brother, the Baron Montferrers, killed and ruin his nephew, Charlemont, in order to gain the son's inheritance.

As the Elizabethan era gave way to the reign of James I, England grappled with corruption within the royal court and widespread religious anxiety. Dramatists responded with morally complex plays of dark wit and violent spectacle, exploring the nature of death, the abuse of power and vigilante justice. In Kyd's The Spanish Tragedy a father failed by the Spanish court seeks his own bloody retribution for his son's murder. Shakespeare's 1603 version of Hamlet creates an avenging Prince of unique psychological depth, while Chettle's The Tragedy of Hoffman is a fascinating reworking of Hamlet's themes, probably for a rival theatre company. In Marston's Antonio's Revenge, thwarted love leads inexorably to gory reprisals and in Middleton's The Revenger's Tragedy, malcontent Vindice unleashes an escalating orgy of mayhem on a debauched Duke for his bride's murder, in a ferocious satire reflecting the mounting disillusionment of the age. Emma Smith's introduction considers the political and religious climate behind the plays and the dramatic conventions within them. This edition includes a chronology, playwrights' biographies and suggestions for further reading.