Source text for this digital edition:
Marston, John. The Wonder of Women, or The Tragedy of Sophonisba. 1606. Edited by David J. Amelang for the EMOTHE Digital Library. Valencia: EMOTHE Universitat de València, 2025.
- Amelang, David J.
Note on this digital edition
This publication is part of the research project «EMOTHE: Segunda fase de teatro español y europeo de los siglos XVI y XVII: patrimonio y bases de datos (ASODAT Tercera Fase)», reference code PID2022-136431NB-C65 (acronym EMOTHE), funded by MICIN/AEI/10.13039/501100011033.
NOTE ON THE TEXT AND THE PLAY
This edition of John Marston’s The Wonder of Women takes the 1606 quarto of the play as the basis of its critical text, supplemented by the 1887 edition prepared by A.H. Bullen for his The Works of John Marston collection, in which he conflates the 1606 quarto and 1633 rendition published by William Sheares. All spelling has been mordernized using US English spelling conventions. All interventions made by the EMOTHE editor as well as by Bullen that do not appear in the original 1606 version of the play have been marked in between brackets; any changes made to the original text have been listed in the edition’s critical apparatus at the end of the play.
John Marston’s The Wonder of Women depicts the tragic demise of Sophonisba, an influential Carthaginian noblewoman who lived during the Second Punic War (218-201 BCE) and who famously preferred to commit suicide and die in freedom rather than be taken prisoner by Rome. Despite not being well-known before the fifteenth century, the figure of Sophonisba became widely admired in Renaissance Europe; indeed, she stands out as one of the few female protagonists whose tale was dramatized in many – if not all – dramatic traditions in early modern Europe, beginning with Gian Giorgio Trissino’s Sofonisba (c. 1515), often credited as the first Renaissance tragedy written in Italian. In the sixteenth and seventeenth centuries at least eleven different plays about her exploits were written and performed in Italy, France, England, Spain, the Netherlands and Germany, cementing her status as one of the most international dramatic heroines of the early modern stage.
Marston’s tragedy was entered into the Stationers’ Register in 1606, and was published as a quarto by John Windet that same year under the title, The Wonder of Women, or The Tragedie of Sophonisba. The play was originally written either in late 1605 or early 1606, and performed by the Children of the Queen’s Revels -- one of Jacobean London’s popular boy acting companies -- at the ‘private’ Blackfriars playhouse. It was customary for the children’s performances in London’s so-called private playhouses to feature various musical interludes, which explains the stage directions at the beginning of every act. Indeed, Marston himself makes note of this particular feature in a postscript he included at the end of the 1606 quarto: “After all, let me entreat my reader not to tax me for the fashion of the entrances and music of this tragedy, for know it is printed only as it was presented by youths and after the fashion of the private stage. Nor let some easily amended errors in the printing afflict thee, since thy own discourse will easily set upright any unevenness.”
In 1633 the play was re-released, with some minimal changes, as part of William Sheares’ The Workes of John Marston six-play collection. More recently it has also been included in the Marston anthologies curated by J.O. Halliwell (1856), A.H. Bullen (1887), H. Harvey Wood (1934), Corbin and Sedge (1986), Macdonald P. Jackson and Michael Neill (1986), and Sturgess (1997); in 1979, William Kemp released the only single-play critical edition to date. Forthcoming is a critical edition prepared by Suzanne Gossett for The Complete Works of John Marston to be published by Oxford University Press (https://johnmarston.leeds.ac.uk/about/the-edition/).
LIST OF CHARACTERS (IN ALPHABETICAL ORDER)
| ARCATHIA, waiting woman to Sophonisba |
| ASDRUBAL, father to Sophonisba |
| BYTHEAS, a senator of Carthage |
| CARTHALON, a senator of Carthage |
| ERICHTHO, an enchantress |
| GELOSSO, a senator of Carthage |
| GISCO, a surgeon of Carthage |
| HANNO MAGNUS, captain for Carthage |
| JUGURTH, Massinissa’s nephew |
| LAELIUS, general of Rome |
| MASSINISSA, king in Lybia, rival for Sophonisba |
| NUNTIUS |
| NYCEA, waiting woman to Sophonisba |
| SCIPIO, general of Rome |
| SOPHONISBA, daughter to Asdrubal of Carthage |
| SYPHAX, king in Lybia, rival for Sophonisba |
| VANGUE, an Ethiopian slave |
| ZANTHIA, Sophonisba’s maid |
TO THE GENERAL READER
Know that I have not labored in this poem to tie myself to relate anything as an historian; but to enlarge everything as a poet, to transcribe authors, quote authorities, and translate Latin prose orations into English black-verse hath in this subject been the least aim of my studies. Then (equal reader) peruse me with no prepared dislike, and if aught shall displease thee thank thyself, if aught shall please thee thank not me, for I confess in this it was not my only end.
Jo[hn] Marston
ARGUMENT
A grateful heart’s just height: ingratitude,
And vows base breach with worthy shame pursued
A woman’s constant love as firm as fate,
A blameless counsellor well born for state,
The folly to inforce free love: these know
This subject with full light doth amply show.
ACT ONE
Prologue
Scene 1
Scene 2
ACT TWO
Scene 1
Scene 2
Scene 3
ACT THREE
Scene 1
Scene 2
ACT FOUR
Scene 1
ACT FIVE
Scene 1
Scene 2
Scene 3
Scene 4
Epilogue
