On my knees.
Brother, even by our mother's dust, I charge you,
Do not betray me to your mirth or hate;
Love me, or kill me, brother.
On my knees.
Sister, even by my mother's dust I charge you,
Do not betray me to your mirth or hate;
Love me, or kill me, sister.
John Ford's Carolinian drama, 'Tis Pity She's a Whore, first performed between 1629 and 1633, has almost everything sensational possible - incest, murder, torture, mutilation, abuse, revenge, corrupt churchmen, a Spaniard, infidelity, duelling, disguises. While Ford's methods of forcibly dragging eyeballs onto his play seem crude, they are nonetheless effective.
Giovanni and Annabella, brother and sister, love each other. Their love is intense, aberrant, destructive, devoted unto death. Giovanni and Annabella are almost heroic, beautiful and poetic and intelligent and shining more vibrantly alive than any other characters, but brought down by their fatal flaw.
Ford's language is flawless and compelling, the terrible and terrifying situation building as a storm you must watch without escaping.
The world is a dark patriarchy. Annabella's father prefers her wealthiest suitor despite his protestations otherwise; Annabella's husband abuses her; Annabella's brother slays her; Annabella's tutoress is tortured and killed.
Must I not do what all men else may - love? asks Giovanni. The answer is yes. He builds on his argument:
Must I not praise that beauty which, if framed anew, the gods would make a god of? ... And kneel to it, as I do to them? He may praise beauty. And if that beauty belongs to his sister, should he not love it? He and his sister were born to the same family and share much. Perhaps it is most fitting they should love because they are so near.
Such a pair of stars
As are thine eyes, would, like Promethean fire,
If gently glanced, give life to senseless stones ...
Wise nature first in your creation meant
To make you mine; else 't had been sin and foul
To share one beauty to a double soul.
Nearness in birth and blood, doth but persuade
A nearer nearness in affection.
I have ask'd counsel of the holy church,
Who tells me I may love you; and, 'tis just,
That, since I may, I should; and will, yes will:
Must I now live, or die?
This is a specious argument, of course. Giovanni makes excuses grounded in Neoplatonism philosophy and beautiful language to love his sister (it is good to love beautiful things; his sister is beautiful; therefore, Giovanni should have sex with his sister - I think Giovanni's logic needs work).
Annabella returns Giovanni's feelings.
GIOVANNI. Come, Annabella, no more Sister now,
But Love, a name more gracious; do not blush,
Beauty's sweet wonder, but be proud to know
That yielding thou hast conquer'd, and inflamed
A heart, whose tribute is thy brother's life.
ANNABELLA. And mine is his. Oh, how these stolen contents
Would print a modest crimson on my cheeks,
Had any but my heart's delight prevail'd!
At least Giovanni and Annabella have youth and beauty and wonderful language in their sins. The world is otherwise dark. Smaller people caught in the middle of duels and honour and demands for blood are slaughtered and brutally tortured without a second thought. The religious are hypocrites who are only greedy for money and will release murderers if they are nobly born. The Cardinal's speech here shows what he truly desires.
Take up these slaughter'd bodies, see them buried;
And all the gold and jewels, or whatsoever,
Confiscate by the canons of the Church,
We seize upon to the Pope's proper use.
The corrupt Cardinal, though, also delivers the epitaph of the play.
[N]ever yet
Incest and murder have so strangely met.
Of one so young, so rich in nature's store,
Who could not say, 'TIS PITY SHE'S A WHORE?
Perhaps there is pity for Annabella. Young, beautiful, vivid, loving, and treated as a toy for men to use and discard and kill. Pity is the only salvage of hope in the end of this story.
Read this play if you want something that's dark and intense and a masterwork of grim tragedy.
’Tis Pity She’s a Whore - PDF
’Tis Pity She’s a Whore - Adelaide E-Books
'Tis Pity She's a Whore was used to excellent effect in the Midsomer Murders television adaptation of "The Killings at Badger's Drift". The novel also referred to this play, but the TV adaptation made the excellent choice to use it in a much more extensive way, where Ford's beautiful language resonated against the themes of the episode.
Here's an excellent set of articles on the play.