MESSINDZHER Philip (Massinger Philip)

(1583-1640)
Born in Salisbury in 1583, baptized Nov. 24. His father, a nobleman who served as charge d'affaires of the Earl Pembroke, as a member of Parliament, he held various senior positions. Messindzher was enrolled in St. Olbanz College, Oxford University, but left without a degree, probably after his father's death in 1603. The following ten years of his life covered by uncertainty, then his name (together with T. Dekker) appears on the front page of the Virgin-martyr (The Virgin Martyr, 1622).
Messindzher was one of the greatest playwrights of the decade that followed the death of D. Fletcher. He is the author of more than 50 pieces, many of which are written in collaboration with Fletcher, or are modifications of his works. Survived 15 pieces belonging to the proper Messindzheru, one of them, believe me, if you like (Believe As You List), came in the form of the author's manuscript. The most famous, such as a new way to pay old debts (A new Way to Pay Old Debts, 1633), and now placed on the stage. Messindzhera featured daring rectitude in matters of policy, which is evident from his attacks on the Earl of Buckingham and James I and conflicts with the censors. According to some hints, especially in the Mistress of the City (The City Madam, 1658), maid of honor (The Maid of Honour, 1632) and traitor (The Renegado, 1630), we can conclude about his commitment to Catholicism. Messindzher died in March 1640, buried in the Church of the Holy Savior (now Sautuorksky cathedral), in one grave with Fletcher.

Artworks Messindzhera are typical melodrama, his subjects, as in Fletcher's full of unexpected twists, revelations and shifts in mood. However, in two of his best plays - Lady of the City and the new way to pay old debts - he is changing this manner, moving towards B. Johnson. Although sometimes Messindzher not above using questionable from a moral standpoint situations, a typical didactic tone and its interests are concentrated in a philosophical rather than psychological sphere.

Phrase Messindzhera constructed not so much by the laws of poetry, as the rules of rhetoric, a tendency to complicate the syntax periods makes it easily recognizable style. Features dramatic Messindzhera most clearly manifested in the Duke of Milan (The Duke of Milan, 1623), the Grand Duke of Florence (The Great Duke of Florence, 1636), maid of honor, the Castle (The Bondsman, 1624) and traitors. Written by him in collaboration with H. Field (1587-1633) a brilliant piece dowry Fatal (The Fatal Dowry, 1632) was revised in 1703 N. Rowe (1674-1718) entitled Beauty Penitent (The Fair Penitent).