Middleton wrote in many genres, including tragedy, history and city comedy. His best-known plays are the tragedies The Changeling (with William Rowley) and Women Beware Women, and the cynically satirical city comedy A Chaste Maid in Cheapside. Earlier editions of The Revenger's Tragedy attributed the play to Cyril Tourneur,[6] or refused to arbitrate between Middleton and Tourneur.[7] However, since the statistical studies by David Lake[8] and MacDonald P. Jackson,[9] Middleton's authorship has not been seriously contested, and no further scholar has defended the Tourneur attribution.[10] The Oxford Middleton and its companion piece, Thomas Middleton and Early Modern Textual Culture, offer extensive evidence both for Middleton's authorship of The Revenger's Tragedy, for his collaboration with Shakespeare on Timon of Athens, and for his adaptation and revision of Shakespeare's Macbeth and Measure for Measure. It has also been argued that Middleton collaborated with Shakespeare on All's Well That Ends Well.[11][12] However, these latter collaborative attributions are not universally accepted by scholars.
Middleton's work is diverse even by the standards of his age. He did not have the kind of official relationship with a particular company that Shakespeare or Fletcher had. Instead he appears to have written on a freelance basis for any number of companies. His output ranges from the "snarling" satire of Michaelmas Term (performed by the Children of Paul's) to the bleak intrigues of The Revenger's Tragedy (performed by the King's Men). His early work was informed by the flourishing of satire in the late Elizabethan period,[13] while his maturity was influenced by the ascendancy of Fletcherian tragicomedy. His later work, in which his satirical fury is tempered and broadened, includes three of his acknowledged masterpieces. A Chaste Maid in Cheapside, produced by the Lady Elizabeth's Men, skilfully combines London life with an expansive view of the power of love to effect reconciliation. The Changeling, a late tragedy, returns Middleton to an Italianate setting like that of The Revenger's Tragedy, except that here the central characters are more fully drawn and more compelling as individuals.[14] Similar development can be seen in Women Beware Women.[15]
Middleton's plays are marked by often amusingly presented cynicism about the human race. True heroes are a rarity: almost every character is selfish, greedy and self-absorbed. A Chaste Maid in Cheapside offers a panoramic view of a London populated entirely by sinners, in which no social rank goes unsatirised. In the tragedies Women Beware Women and The Revenger's Tragedy, amoral Italian courtiers endlessly plot against each other, resulting in a climactic bloodbath. When Middleton does portray good people, the characters have small roles and are shown as flawless.
Due to a theological pamphlet attributed to him, Middleton is thought by some to have been a strong believer in Calvinism.
