“You have no stomach to them”: Indigestible Revenge and Disgusting Tyranny in Antonio’s Revenge
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In John Marston’s Antonio’s Revenge (1600), the villain Piero Sforza’s loss of tongue directly follows on the banquet scene in which the play’s revenger Antonio stewards a dessert dish containing the limbs of Piero’s young son. Taking a major departure from the revenge tragedy’s convention of making the parent unnaturally consume his own children’s flesh, Marston allows Piero no chance to eat the meal. This essay suggests that this crucial difference presents a point of contact between the conversation about male subjectivity and the early modern discourse on eating. By contextualizing the centrality of the tongue within the period’s interest in the development of interiority linked to the consumption of food, I argue that the play’s gruesome scene of tongue-cutting reflects its broader interest in nondigestive and unwholesome eating such as vomiting, over-eating, and starving. Engaged and located in the play’s rich depictions of unhealthy food-related behaviors that culminate with the final banquet, Antonio arises as the triumphant male subject who insistently beats out his enemy not only in terms of theatrical and rhetorical brilliance, but also in the culinary aspects of food making and courtly service. While his victim Piero is deprived of access to inwardness, Antonio serves as an actor for a chain of food work leading from the preparation of the sweetmeats to the amputation of the tongue, thus winning a chance to gain and manifest masculine empowerment.
Abstract
In John Marston’s Antonio’s Revenge (1600), the villain Piero Sforza’s loss of tongue directly follows on the banquet scene in which the play’s revenger Antonio stewards a dessert dish containing the limbs of Piero’s young son. Taking a major departure from the revenge tragedy’s convention of making the parent unnaturally consume his own children’s flesh, Marston allows Piero no chance to eat the meal. This essay suggests that this crucial difference presents a point of contact between the conversation about male subjectivity and the early modern discourse on eating. By contextualizing the centrality of the tongue within the period’s interest in the development of interiority linked to the consumption of food, I argue that the play’s gruesome scene of tongue-cutting reflects its broader interest in nondigestive and unwholesome eating such as vomiting, over-eating, and starving. Engaged and located in the play’s rich depictions of unhealthy food-related behaviors that culminate with the final banquet, Antonio arises as the triumphant male subject who insistently beats out his enemy not only in terms of theatrical and rhetorical brilliance, but also in the culinary aspects of food making and courtly service. While his victim Piero is deprived of access to inwardness, Antonio serves as an actor for a chain of food work leading from the preparation of the sweetmeats to the amputation of the tongue, thus winning a chance to gain and manifest masculine empowerment.
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