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around 1587, The Spanish Tragedy tells the story of
Hieronymo, marshal of Spain, whose son Horatio is
murdered by Balthasar, son of the viceroy of Portugal,
and Lorenzo, son of the Duke of Castile, because
Balthasar has his eye on Bellimperia. Bellimperia is
Lorenzo’s sister, and she loves Horatio – and this is why
poor Horatio is murdered by Balthasar and Lorenzo.
Bellimperia, who witnesses the brutal murder of her
lover, sends a letter to Horatio’s father Hieronymo
informing him that it was Balthasar and Lorenzo who
murdered his son, and Hieronymo vows revenge on the
two men. However, before he can avenge his son’s
death, Hieronymo decides – much like Hamlet in
Shakespeare’s later play – that he needs to prove that the
letter was indeed from Bellimperia and that both
Balthasar and Lorenzo are indeed guilty of Horatio’s
murder. There follows a series of delays in Hieronymo’s
enactment of revenge, delays which succeed in sending
him mad.
Once Hieronymo has spoken with Bellimperia and she
has verified that she did indeed send him the letter, he
sets about contriving the best way to avenge Horatio’s
death. Asked by Balthasar if he will stage a play for the
viceroy’s amusement, Hieronymo puts on a play whose
plot loosely mirrors the events surrounding Horatio’s
murder. (Again, this is a clear precursor to the ‘Murder
of Gonzago’ playwithinaplay in Hamlet.) In the play,
the characters played by Hieronymo and Bellimperia
kill the characters played by Balthasar and Lorenzo, but
instead of merely pretending to stab them, both
Hieronymo and Bellimperia actually kill the two men.
Bellimperia stabs herself afterwards, and Hieronymo
then tells the Duke about Horatio’s murder, before
killing the Duke followed by himself. Watching the
events of the play from the sidelines has been the ghost
of Don Andrea, who had been killed by Balthasar in
battle prior to the play. Andrea’s ghost is accompanied
by Revenge, and the two of them act as a sort of Chorus
throughout the events of the play.
It would be easy to view The Spanish Tragedy, in a
rather simplistic and superficial analysis, as a crude and
inchoate example of the revenge tragedy. Shakespeare
would do it with far more finesse and subtlety in
Hamlet, true; and Thomas Middleton in The Revenger’s
Tragedy (if indeed Middleton was the author of that
play). But even when the characters in The Spanish
Tragedy strike us as a little twodimensional, the style of
the dialogue is often intriguing and curiously subtle.
Consider one small detail of the play’s style: namely,
Thomas Kyd’s use of the repetitionasrhyme device,
whereby the verse falls between blank verse (where the
line endings are unrhymed, as in tree/man) and rhyming
couplets (where two consecutive lines are rhymed
tree/see, for instance). Time and again Kyd utilises a
sort of halfway house between these two extremes,
unrhymed blank verse and rigidly rhyming couplets.
The repetition suggests a sense of stasis: Hieronymo’s
inability to act or move forward, his obsessive nature:
I look’d that Balthazar should have been slain:But ’tis
my friend Horatio that is slain,And they abuse fair
Bellimperia,On whom I doted more than all the world,
Because she lov’d me more than all the world.
With what dishonour and the hate of men,From what
dishonour and the hate of men,
And all this sorrow riseth for thy son:And selfsame
sorrow feel I for my son.
Closely and safely, fitting things to time.But in extremes
advantage hath no time;
The plot is laid of dire revenge:On, then, Hieronymo,
pursue revenge:For nothing wants but acting of revenge.
Bid him come in, and paint some comfort,For surely
there’s none lives but painted comfort.
Hovering between the neatness of the rhyming couplet
and the relative chaos of blank verse, such ‘non
couplets’ play out Hieronymo’s dilemma, to steer a path
between madness and sanity, chaos and order, revenge
and justice.