Contents

pp v-vi

List of Figures

pp vii-vii

Acknowledgements and Dedication

pp viii-viii

Introduction: Female Fury and the Masculine Spirit of Vengeance

pp 1-30

Part I - The Gendering of Revenge

pp 31-32

1 - Why are the Erinyes Female? or, What is so Feminine about Revenge?

pp 33-57

2 - Re-marking Revenge in Early Modern Drama

pp 58-82

Part II - Friends and Family – ‘Revenging Home’

pp 83-84

3 - Vengeance and Male Devotion in Laxdæla saga and Njáls saga

pp 85-96

4 - ‘Now I am Medea’: Gender, Identity and the Birth of Revenge in Seneca’s Medea

pp 97-110

5 - The Avenging Daughter in King Lear

pp 111-121

6 - ‘Brother Unkind’: Annabella’s Heart in ’Tis Pity She’s a Whore

pp 122-138

Part III - Women’s Weapons

pp 139-140

7 - Cursing-Prayers and Female Vengeance in the Ancient Greek World

pp 141-159

8 - ‘The Power of our Mouths’: Gossip as a Female Mode of Revenge

pp 160-180

9 - ‘Women’s Weapons’: Education and Female Revenge on the Early Modern Stage

pp 181-200

Part IV - Women Transmogrified

pp 201-202

10 - The Vengeful Lioness in Greek Tragedy: A Posthumanist Perspective

pp 203-220

11 - ‘She’s Turned Fury’: Women Transmogrified in Revenge Plays

pp 221-236

Part V - Lamentation, Gender Roles and Vengeance

pp 237-238

12 - A Phrygian Tale of Love and Revenge: Oenone Paridi (Ovid Heroides 5)

pp 239-250

13 - Lament and Vengeance in the Alliterative Morte Arthure

pp 251-263

14 - What’s Hecuba to Shakespeare?

pp 264-294

15 - ‘Nursed in Blood’: Masculinity and Grief in Marston’s Antonio’s Revenge

pp 295-306

16 - Outfacing Vengeance: Heroic Dying in Webster’s The Duchess of Malfi and Ford’s The Broken Heart

pp 307-325

List of Contributors

pp 326-329

Index

pp 330-339