Sekecan and Other Influences 01 Six

SEKECAN AND OTHER INFLUENCES 01 SIX

ELIZABETHAN REVENGE PLAYS

APPROVED*

^. i. Direct or af He" feej/^traent'

of th« SENECAK AID OTHER IRFLTJENCBS 01 SIX amSSTHAI KEVENGE PLAYS

THESIS

Present ©cl to th© Sra&uat® Council of tfa« Berth Texas Stat® €©ll®g® in Partial Fulfillment of the Requirements

For th© B«gr®« of

MASTER OF ARTS

Bit 223584 Marilyn Fisher, R# A, Thornton, Texas August, 195S 2235m

TABLE OP CO*T**rS

Chapter ?ag9 X* THE VOGtflS or StfUSCA, 1670-1600 1 Definition of tha Tragedy of Blood Elements of Senaoaii f nige^y Appeal of 3an«oan Eras® Direct Imitations of Son#@a Departure iwm. Bmmmm Mod®!

II* PROBLEMS OP CBRONOStOGTZt SOURCES, ARB AUTHORSHIP 14

2r«» ^i.ii.iwii>iiiliiv,i.ii foe Jew of Malta

The' frlrif t Part of Xerotilino III. I1TEHRELAf IOKS Of SIX TRAGEDIES OP 8BVSR8X *2? lesta®©* of Each Revenge Play 5«qmbs Heaeata in tbe Tragediea of Revenge Mutual Dependence of Kyd# Marlowe, and Shakeapeare Parallax Devices Charaet arlaiftt ions If. DRMSATIC A® STOISTIC DEVICES CP THE HEVtSCIt PfcSjS. . • . .58 ?b® Cborua In Bm&m and Rmm$® Play®' Innovation of tba Dunb Show and Play-withli*- t be-Play Art in Seaeea and Revenge Playa V. CONCLTISIOB 85 B1BLI0SMPB1 91 cmrtm i

THE VOBTJE m Stmck, 1570*1000

I» this thesis mn attempt will be sade to tra©# briefly the revival of Seneoart tragedy from 1570 to the end of the sixteenth eenttiry through s«®te of the earlier translations, adaptations, end imitations, and to evaluate the stgnlfl* mm* of the final evolution of eueh works into the BUssabethan tragedy of revenge. In order to proossd more eeelly 1» dlseusslng Seneesn tragedy* it la appropriate to inelude here tase concrete definition of the tragedy of blood# Such definition is not poeelble wit hoot a brief glanea at the hiatal of the Kenan product in the tvagle dwsasa^ftee tragedies of Seneoa, modeled closely after the tragedies of Aesehylus, Sophoolee, and Burlpldes, link airiest tragedy with modern tragedy* The Qreeks had already delved into sllforas and fields of literature* end Kenan tragedy was an imitation of these great models* /^'Seneea «npots his tragedies to please a &#» mending audience whiah comprised an tq>per class clique with a elaesieal edueat ion, smut toe bora® in adnd that Seneea's

plays were meant to be reoited# not aoted, and the reading

public was anfclotas to reeelve aoodewl© wosfcs in latln# the 1 y mniversa1 langtMg.© of sehol&rshlp* eombinsd both

U Lucas, Seneoa and Illgabothqn Trtumiy* p* 5&» classie and semantic alamanta to eaopoaa hi# tragadiea*

During hit period of writ lug, §#mws& was fowid to abound in rb©t ©fie, to parage hit pedant iff, to soralisa with pn»* and to axaggarata graaaoma detail®, t/eeauaa pollti- aal stagnation derived hi» of a popular trand of writing.

Sanaea** Stoicism induced a hardness in hi* character*! daath to than was a poaitive good} auiaida waa a luxury*

In Tread—* AatyaaaXff afclld of Haator aikI Andremehe, ia described by tha messenger aa having met hia daath with a royal aeuK^feoiy*ena# daugitar of Heoube and Prlaa* wboaa blood ia to ho aplllad upon tha tonb of A o failles that aha

•Ight be reunited with bar «at« in Kiyatiw* ia d—eribed by Andrcnsehe aa foXlowat

Behold, bar aoul leana up w»h mighty Joy

At thought of death*

Oedipus, in fhsbala. e#lf»t&iMed ®ai a«if**KlM fro® his land beaauae of a stroke of fata wfciah threatened hia be- fora births eameatly seel® daath, but he is restrained

from oomitting suicide by hia faithful daughter* Antigone, and ha declared that ha bad rather be forced to dia than be prevented from dying* ;/' Seneea'a tragedies »®y be briefly analy*ed aa a skele-

ton of epie, lyrie, and drsnatie seenee, hi Id together by

2Lueiua Seneaa, 1'r—d—» IV, 94fr»946. Future cita- tion# to Seneea. will b# wmft in the ^ra^edi« ©f SttSftfe# translated by Prank Siller. rhetoric* Hit t mg@&lm stake up the logical development la dram tusder th» prevailing condlt loaui of • scholarly pilsli© with s twit# for intrigue* adultery* nurder, and horror pll«S upon horror through. the use of ghosts* mythological characters* wmmtwml deaths, and wut list ion# f:he definition for the tragedy of blood Is *oet conveniently given by listing It* obaraeterlstInsi 1* The tragedy of blood la traglo Is that the principal character or eharaet era raeet death as the Inevitable ,M"uW of * Mt"trophe fmsd •"»lnor8dlble horeoM- f* It la usually motivated by a desire for revenge becau.se of gmesfno Injuatlcas* Zm Xt ustsmHy contains numerous allusions to ©reels mythology* 4. It la further characterised by the uae of the ghost, 'Choice, itodi eharaet era, such as the good and the evil counselor, ant All comprehensible mechanics of hlood-letting.

la cHiwIalag some of Seneca*# plays# we find their structure is tte® same* Seneca divides hla play® Into five Act 1 la both retrospective and anticipatory of the catastrophes Act II a eta forth--- the principal character de- vising means to execute hie revenge? Act III bring* the rivals together| Act IV la usually the sunt* t ion of events| Aet V la gives over to the completion of the catastrophe*5

^Harriofct Hy Ffcnsler, The BvOXufclOB of technic in .isabefchsa Tragedy* pp« 4®- It Is immediately Obvious that Seneea is provided the oppor- tualt; of narrating iM moralising |s the invariable use of the chorus to conclude the first act. In each ®f hie tragedies we are cognisant of his dramatic teehnlque** long, rhetorical speeches and auch epigrammatic atlcho- nythla. This llne-foxwline dialogue oocurs in the second aet of each of hia tragedies* and is aade tap of persuasive conversation on the pari of the nurse, counselor, or servant stoo attempts to reason against the principal oharacfter*s avenging an in justice* ';;;Kire«^hfW2fe Seneca's tragedies, the desire for revenge is the only point about which a plot may be woven# la 1hyeatea» At reus gains revenge a gainst his brother# Thyestes, for having usurped his kingdom and defiled bis wife; in Hercules Pugeaa, Juno, attmpting to strike evil against her brother, Jupiter* through his son, Hercules, thrusts the youth into madness after he has killed the tyrant, Lycue, and causes him to kill his own wife and children* In fhqbaiau as in Beroulec Parens * we find a deity seeking revenge for the surdar of a favorite* Apollo seeks revenge for I

This heightened style and display of technique appealed to the rcnantio Elisabethan age* Since Seneca was the aost available nodal, and since his plays were not composed for the stag®, the fain of tbe florid speeches is fmtA in flMktcry rather than in content*6

*Ibld.» 47-48. ' .

®A. D» 0odley# *Ser:ecan Tragedy^* in Sngllah Altera- ture and the Ckialei.« edited ,%y 9. 3* SoracuTp*

^Felix 1* Schelling# Bngltsh Dmrna.* p. 4&« 6

A rough division of the hi* tori* growth of K»glt»h

Sene** into the three 167Q*X£eo# X£80»X£&0, a ad

X690»X603f Is neo***ery for consideration of popularity. la 1670-X660, * lull is Setteean lufXuenoe was tv&» dent # and heeawae the uaiT*r*tti*» have Xeffc so reeords of Senecan act ivitie* during the deoad®,* we are aXmost #nt treXy dependent upon Xoet pXaya whieb are lie ted la the Revels AmmmtSm7 . Fwa X580-X690, there «nui a diatinet revival of S«»inr inflame# as mad* apparent by Newton** Theoai*. nfeleh la a translation of the whole of Seneea, and by Sevton*s ooXXecti.a of earlier translation* into tha on* mAwm, Seiaeea, Hi* Tan frujgeitle* Translated into Mmgl?mh* in X68X« la tbe same year* WlXXlaa Oager bad a Senecan tragedy, imlmmm* performed at Christ Churcfc* i^Xb the unlversit le« Senecan Influence was firmly established. The •tudent* at $ray«» Ins produced a pureXy Seneoan tragedy, ffaf? Mi*for»aB«* of Arthur, X687-X568*8 Xte im of the pXaya of Kyd# Karlowe, and Sbakeepeare, we find the most important influence of Seneea during thia "deeadj&r^rlyd1 a Sp*jriaji?'.% fraaedx* X68«, merfce the peak of 3ene*an influene*. In the years f«m 1690 to 1603, we are compelled to eacax»ine playe wore closely to fiad Seneean tne«i» and aXtbough the writers

?H. R» Charlton* ffa* Seneoan Tradifc Im im mmi, ,**, m* & -flWPPwiPBW'Pfc ^nwppi^llfiawwwpwlinlplwpp 4Httt$||0||ii|£ famaedy* p. X48» 8ibuu, pp# X4&»X43* of tha period osiid Sanaean aodala, tha plays h«T# ebangad from gory tragadlaa of blood to dlat inot tragadl#8 of ra-

IP W* ^ A

I# iWoaaa&ry t o farfcisisy coBiprohaii# lois: of dii*#ei Sanaaan tefltia®©#* Q»toodm«* written by fhoaas Sorton &M Tfeoman StokvlHt* 1662* *aa tha aarliaat Engllab tragedy with doflBlto Sanaean fcatuMi the bloody tb«*a, tfa» division into fiva sets, tha me of tha qhorw, tha removal of action from the spectators, and rbatorioal spaashss* Tha par foraed befon Quaan Kllsabstb at Whitehall on January 18, 1568, «u writ tan with a political ptupoaa. Tba authors of sorbodae vara at riving t o enphasisa tba infaer«»6 avlla

of as tinsettlad succession# Msg 0orfood«e dlvldad his kingdom batwsen his two a ox*, Ferrax and Forrex, and tha dlsooird and eonaaqtumt avlla befalling tba Jointly ruling

gooa const itut e a tha®e wfclob la aoggast Iva of tha Greek

atory of tha wars of tba sons of Oedipus «nd tbe destruc-

tion of ftaetwis^^Seneoa1* fbtteal# la Idantleal in plot

with Gorbodue. Sfeeoelea tai Polyitioes sr® rlvalroua

brother® between whosi tha ktn®ftoia la dlvldad# Tha alder

brother la wardered by tha younger* tba »other wirders tba

yoanger so»i and tha people, preoeding aivll atrife, murder both tha fathar and tha not bar*

9C. p. fucker fm* 19U192* 8

Several parallelisna found in QortoQ&uo and I® tragedies of Seneaan authorship are worthy of mention* Vldena* la Gorbcxluc, weighs the value of day and night t fhe sliest night, that brlngea the quiet pa wee, Prcm palnefvOl tmnUe* of the wearie day, Prolonges rag etitftil iho«glite®# and w&km mm blame The' il«r Aurora, that eo for 1-m-e ©r #faa®e .Doth long €elay to ahewe her blushing faee,10 AM new the day resewes ay grlefoll plaint. Oedipus* speech at the beginning of the tragedy of Oedipus 1* essentially the sanet Mow night ms fled; awi with a waverier. gjm %twii the sunt all wrapped la sosiqp o1©wjI« His beams arise* a ad with their baleful light Shall soon look upon our atrleken hens#* And day reveal the haws of the night*11 In Oct a via, the first five lines erlglnat e the day end nlgfbt dl s cues ions Hov doth the flushing dawn fron heaven drive The wandering atarsf the son atounts Into eight With radiant beaut, ani brings the wsfM one® more The light of day.. %# then, ®y heavy soa& With grifwas mires ef erbtzrdened, am® *esune fix&'wm*m la the dtaab show preceding let II of Sorboam* r@f«r©i»# to the adasiatst©ring of poiece is as foUosst " ' » After his eenmea a brave and lustle young gentle* mm and presentea the King with a evqp.§f golds filled with poyaon, vhleh the King aeeepted**®

^^Phecias Jtarton and Thaaas Saekvllle, &«fe€>dqa.» I, i, 1-6* **kuelus Seneca, Oedipus, I, 1»5« *80ctavla« X| 1»B* This anonymous play has frequently been stlsl^EIro to Senses. is "~ boduc# Such Show, 6»0* la eplgwttwatie imm0 ftejmtm reaarioit « • * fm •ti» in cups of gold that poiaon larim,14 Here, It Is in* cresting to sot a that fete# authors of 6mwdME departed fro® the established em tan by making the &ll®g©ri« m). representations precede tbe various a eta to eatplaia the signlfioane* of «aeh» «h«rM« Senee* used the ©boms to review events art to nfitieipate the ea t astr0pti«»IS Po®. |b« Jake af attaining horror through word olet&ioa* S«rt«» and B&mk'wtXl® have Gorboduc declaim in Senetan stylet A - Whoa© vengeanee neither Slmeie* sfcayaed iliwiw , ir'' Plowing with hlowd of frol&ti prinees slalne # » * b Seneea produces the sua# ooXor In Agaat««nen*s speeeht Nor Slao!** waves empurpled with the slain « • • *7 The words, "blood" and "bloody* are recurrent in Seneea's plays, and Gorbodue is filled with Identical wordst 1H

# # * his ora® «o»t bloudy band . • # In Thebaia. Oedipus stentions bloody bauds la one of his epeeeheet Into ay fathead a bed X bore «y bftnda Smeared witb ay father1# blood#1.

4§3«*454# 16J. W* Cunliffe, "I ; alien Pr©t©fejp«a of the Masque and Dtusfe Show.11 Pwfelioa.tl >ns of the Assoeiatloii. IXlTIlWTT p» 156# * HI, i ,, 3-5. *7Seneoa, A«a»enmon. IX, 215.

18 QQrboa.ae. iii# i, m. "^Seneca, Thebala, I, 267-268. 10

Qorboduc ts equipped with a Seneean mmt of corresponding characters# The three principal characters* GorbodutCj,

Psrrtnt* «»d PomMBc, are provided with geci «own»#3LaM* as. well as a wicked parasite who nullifies sententious couiv- , 20 sei*

Equally a® reminiscent of Seoeesn tragedies i« ffae

Misfortunes of Arthur, the body of which was written by

Thorns 11587, in collaboration with eeven other nenbers of the Society cf 0»y*s Ism* The play is well described as a paraphrasing of Seneca* s atleh€a»yt hia.2i

The Seneean &mt of 0«pl©is gloats wtr the reveagef the dumb ehows foreshadow coming events* Arthur's son, lordr«&, who was the result of an incestuous practice* seduces teen Ouenevere. When the Qsseit hears of Arthurs proposed return# her plant for eaaBltting caleldo are dis- rupted* sad site flees to a muwtery* Mordred gathers large forces to wage war agpinst Arthur# and iB the Bettls of

Corxmllj, only twenty of 180*000 men survive on each side*

Arthor slays Mordred and receives his own death wound*

This tragedy is more closely related to Seneca's

in dialogue concerning srlae* death, and revenge than to any other of his plays. Seneca, in describing the extent

L» Lucas, og*. cit*, p* ©a

^Ibld*. p. lOt, XI

of crlae puts the following words into Clyt amnesties epeeoht the only path that's safe for aria* Is ei*im©»S8 Haghee allow* Queen Oitemere to deelarei Qb*1% no plagoe, and none will be tmrn^i* „ -*rs»g easae*. be reweng'd* but by e&oease#^ fti# iw sentlaest is expressedtoy A t reus la threat eai

So arlaa* § avenged eave by a greater erlna* 0jl Bat fiber© the erlnae that ©an sovpaea his deedaf36* Atretxa extends his attitude toward crlaie la the following speeeht • . « but no end Is possible whso vengeanea through the crime Za aought Queen Guenevere strikes a similar tread of thought In her llBeSS Wrong ©1mymm a me&ne* when first you of for wfgnge. the asstse- Is mine, when wrong is In revenge. ® As an exsnple showing that death wee * positive good to

Seiteeam @t»wteters# we find ktrmm exclaiming t In m$ doaaia, death is a longed-for bam#®*7

®%a»eea* XX 0 Hi* *^RMMta Hughes, The Klafoitttpoe of Arthur. I, 11# 4<*»47.

^Senses, Threat ea, 11# 196-186. 8gIbld». V, 106S-10S7.

Misfortunes of Arthur* X# 11# S0»51« Mr Seneaa, ffarestes« IX* 249« 11a

G-mmmem hmmm® on Imitation of a Seneoart ohar&eter I«k aaylsgt Death im an end of peine, no pais# it a elf* 28 Of particular intereat Is the atololam found In the Choroa following &©t III of f fear eat eat Him# who® the dawning tetuftds Impponi. estate* the aottlng s«n Sees lying In the dtaet*2* An identical atoloal expreaaion la found 1» the epilogue cf The If ig fortunes of Art hurl HS»# whan tho morning found both a tout and atrong. The owning left all groveling m the groom!*®® Co&o«rnl»g royal power, lordrot flaunt# Ma view* Is a single ^9?? Wmkm la tho Scepter* a hold, that aookee hot right At reus atatee the aane idea m followaf When Kftngi are f orood to choose right alone, • Their role la insects*©#sg Fro® the foregoing parallels tmM In tao direst la&* tations of Saaooa, m are able to aunnariae briefly Seneca*a eontrlbt^fcion to Bngliah tragedy* Of primary importance, i he gave a pattern of eonetraction, *&• five-act dlvleion, ^%fae Mia fortunes of Arthur* 1, tii, 4S« **Seneoa, Thyeatea* ITI, 618~614* Misfortunes of ^Arthur, Allege#, 40*41* 51Ibld,. I, !•, 98# 5%eneoa, Threatee. II, 214-216. 12

with comparatively little action vgpori the sia?;« from only two or three characters. The lack of action on the stage served as a requisite for the messenger to report off* stage action# Ills choms reviews previous Incidents and predicts the outcome of sudi event®. Hissbet ban tragedy takes over such stock characters as the ghost and the goad and the evil ©€^®aloai|f:;^Sii»e»,e sensat lonal themes authorised the penchant for bloody action# Seneca established the convestion for having the principal characters m#«t death nobly, and he set the precedent far having the® meet death at the end of each tragedy* f® find Barton and Sacfevill® and Bugles closely pat- terning their plays after those of Seneeaf however, w# find In later Elizabethan dram several marked depart urea from Seneca* Immediately noticeable is the shift of interest from the coster conflict to tbe inner conflict* mm fwm incredible atrocities to tim emotions of the s&iid# Whereas Seneca had no complexity ©C plot , English drsisatlst# became renowned for plot continuity and for the expert blending of aub~plofca. A' Seneca* a ghost invariably emitted the cry for revenge, but it mi not a participant In the subsequent action of the tragedies*,^ In Elizabethan tragedies of revsnge, the gfeoat is no dranatlc piece of machinery) it actually motivates the other characters and ®®Thorsas 1. Parrott awl Bobert H. Ball, Ellsabethan SBSB# P* 40» 13

is a filial part of the dramatis nQreoaae* l« £1mi a growing sense for the need of actlost m the slag# to satisfy the desanis of a ronatle and mlittie group of theatre-goers. Tragedies of Seaeoa were at the fingertips of such geniuses as %d, MarXaee* end Btmkmpmmg ho®mm, their norta su*» passed those of &eneea to the extent that a zsoro applicable expression for the dramatists is that they °out»Seiieea Seneoa#* CHAPTER II

PROBLEMS OP CHRONOLOGY, SOURCES, AID AUTHORSHIP

lit this chapter will to® discussed the chronology of the six plays of revenge under consideration with a detailed surrey of their sources. Additionally, soiae problems of authorship of the doubtful plays will be presented. The first of these six tragedies to b® published was The Spanish Tragedy* the earliest extant quart© ©f which bears the date 1594* The date of entry lti the Stationers1 Register# according to Chambers, Is October 6, 1592, and the play Is entered by Abell Jeff©a* with publishing rights granted to Edward White.1 This quarto of 1594 is in the University Library at Gottlngen* I second extant quarto, dated 1599, Is in the Earl of EHesmere*s Library at Bridgewater House, and from the title-page, we kno* the quarto of 1599 Is "newly corrected and amended of such g grosse faults as passed In the first impression#* There is an undated quarto in the British Museum, which was a second edition of a corrected and amended first impression. Mr. Boas concludes that the first Impression, of which no *R. K. Chsmbor", The Elizabethan Stage. Vol, IV, p. 585.

^Frederick S, Boas, edit or, The Works of Thomas Ryda p. xx^ll*

14 is eopy is extant, is either that licensed for the pms to Abell Jfeffot on October 6, 1592, under the title of the Spanish Tracedle of Son Herat io and Bslimloola. op a pi- rat i@»l issued % Bftvaid White between October i ftsi Deeemfce? IS of the same yeer. The copyright #f the pit; reaalned in the poesession of Jeffes from the date of entry in the Stationers1 Register until August 13* 1899* alien he transferred hie right to B&ward White* who aoeord* ingly printed en edition in that year* For Allde* Ihifc#1® printer* to have printed an edit Ion between these dates would have been an invasion of Jeffee* rights unless there m were eoote very Irregular proceedings* A series of internal evidences suggests 1S8&»1587 as the period within which the play was written* According to the allusions in Act ¥ of The Spaniah fttaly to Isglish victories is Spain and Fortu^l# the date would definitely preoede the defeat of the Spanish Arnada, and Jonsoa*s words li wowld fix the date at 1586*4 With the question of date# that of source is partly Involved* Boas argues that Kyd took the polities! baefc* ground of the tragedy fro* historical accounts of the war between Spain aid Portugal in 18B0#* It is unlikely that a writer eould have invented a plot so nearly in conformity

*Ibld» * pp* «evii-*anriii» 4Ibld»« P* see*. sIbld» , pp. xa-xntl. 16

to the S p« n la h-Portuguese struggles far auprerecy. The framework for t he purely l&aglnary experiences of HleroBlaaft earn© fro® a cm# lost work of fiction, or 1% was the produet of Xyd'e iag@»iewi wind. w« have no definitive a octree for The imatsto. t*t sheUftr the eottnse £ro» «t>i«b tyft drew» he ameeeeded in producing the mmt popular of Klisabcthari plays* F«r fifty y#sre Jhg Spanish fr&ge&y maintained a popa- ls rllf unrivaled toy that of any other play throughout England a largo part of the European Continent, but with the tyiwph of Purltaniea assd the closing of the theatres 1b the middle of the seventeenth aentnyy, 1yd*# fa®# me totally eclipsed* When, la 1744# f-fa# Simaiafa Tragedy «m terow#t anew before the reading wU, the author* « mmm imd bun forgotten* however* Hawkins, ecsa®* time h#for© 1775, found tbe following three line# Is Haywood's Apologsr fop Act .out

»hyf S«po thought It no disparagement And Kings end Bttperonrs hmm> tane delight § f© make ®3£p©rien©e of their wit# lis plalee* Keywood names %d ae the author of the preceding lines* and enll^itena a world wbieh could easily fa&f© forgotten the author of auoh a maetegpleoe elnee lyd'a name is not listed m the twelve eactant edit lone «f The Spanish Tragedy.7

@fh«aa lyd, Th£ Spanish. 2ffiI#SSS' Iv» *» 8«8» Prederlofc S» Boas, <&• clt>, p« xlli. 17

Thm iMond play la the chronology of the tragedlea of r®ir#ng® muter diaeuaaion is |h« |w Malta. euterM is th« m&ttrnmm* Segister lay 17* 1594, to Hiehd&a* Lingo . and Thoa»# Killiagton* The on-y oxtail edition of the tmge&y U thm quarto of 16S3, wbieh Tfaoiaaa Haywood d«di~ eated to bis friend, Thooaa Sainaoiij however, it is poaaible to fix the date Of the play within fairly eloee liaite# ffe# allusion i» the Prolog# to the death of the Quim refurs to the assassination of the third We« car Onto** on DM«b«r 2S» 1688* Henalowe's Diary records a per-

f of Jw «£ «® Febraary Mt 1581* The eonsensus fixes 1689 as the approximate date*8 there 1® »# doafot of Marlowe1® authorship of ^he Jew J2H &HE$ b"w»# the qmrt o odf 1635 gifw® eirideiio® of i

Heyvood' a baud to several «««ms# and ia the Prologs* isS %il®gp*ii whieh contain analogies %@ fho Capt ives* The present* of Heywood*s writing in this quarto ess to® under-* stood easily when we consider that the play, which survived oaly i» the playhouse ia manuscript, could not have been bailed dorss in th* exact worda of Mario** after a laps* af more than forty yeara. Harlow* drew his *bi«f soero®® for £gv jgjr Malta frott books that h* had read* fhrowgb reeent research* sueh critioa aa J* Kellner art 0. F. Tucker Prooike agree

Hi Frederick 8* Boa a, Christ opher • Marlowe. j>* It®, 18

that ttarloee mmh tvm Belieforeat1» l¥6m©lle* ®M fr©® Lenleeme* Chronicore»» Loaleeraft gives an eeeeui)* of Jwa Uleheeine* a Portuguese l««f who - flourished daring the middle of the ©trsfceeiith oenttsry. After enduring pereeeutlon t» his own •omAs1?* is Antwerp* end la Venice, Mieheeloe took refuge with the Torlce In Conetantneple* end there employed tils mmcm&om wealth mw the -ultar. Sells to the Aleadveistftge of the Christiana* »h#n Si@iie»i» was s»de Suite &f Ia*« and the Cyeledes* he exehanged hie former Christian mm* for the Jewieh name of Joeeph 8u«i« The historical laasl was actually In political end financial relatione with the eourte of Franee # and &ernany* tteaagh later tasssaaeked as the «m©«y of both* There la a parallel eituat Ion In The Sum of Salts wImph Barebae le reviewing hla evil deedet Arid. In the wars twlxt Franee and Qmrmts$$ %der pretense of helping Charles the Fifth- X slew friend sad enemy with ay stratagem**® . file third extant play wtaieh we ehell eonsider le Soilman and i^eraedR. which ways 'entered on the Stationers*

Regieteg*» Koveaber 20, l§tt# by Edward Vhite* and printed by Biward Allde* There are only two dated ecpies of the tragedy, aid each bears the date,, X§0§* In the nritish 0 C« F# Tuok«r Brooke, editor* The Wprice of Christopher «erlow

Kuseun there is as ungated quarto bearing th« following excerpt from It® tltle-pa get Thm/ Tragedy#/ of and P.apseda/ wherein la laid® open* t^?#*g/ Fortuse* a lncon-/ etanoy. sal Death's/ The t It le-page la idertt leal with thoee of the lift qmrtca with the exception of the omission of the date* Arguments in favor of this undated quarto feeing the earliest of those extant Is that apart from two serious ndsprints which render two passages unintelllglble* the quarto represents the best text* In any ease# the entry la the Stationers* legist er fixes November, lS9i# as the downward Mi for the composition of the play# 3s

nFrederiok S# Boas# editor# The Worles of fl»» Eld, P* !•. lo IbjjdU* p* Ivl# 20 as the frequency of double endings and the proportional \m% of blank verse to rhyxae* At times* the exact phraseology of Wot1011*0 novel is borrowed***' The simi- larities of t eohnique between S ol lean and Pernoda and The Spanish Tragedy, the repetition of the orgy, of bloodshed Tstiieh ends each g|ay# safl the use of relief vith toe graver iesuee of each play are not definitive evidences of Iyd*a atathorehipj yet we way conolude that Kyd wkI® Sollaan aM Parsed*. or one of his diaoiples Imitated s them© already handled on the stag# by Kyd* A brief suanary of Kyd'e play*withi»»t he-play will serve ae conclusive mMmmm that the independent work of Soltaaa and Farae&a found its aourca within The Spanish frtised.:?* Hiercnlao* devtalmg a play whereby Lareziso* Balthazar# and Belinperia are to sieet death tinder color of atage business, give* the argument that a Knigat of Rhodes, Eraotua, was tetrothed and wed to Parsed** an Italia a girl whoso beauty captivated everyone who looked upon her# Soliimn, the Turkish Emperor, waa an honored guest at the wedding feaat of Pereeda and Erast'os, and he strove is vain to Hake Perseda ewitoh her affections to hiau Solisan then ordered traat'as, death by falsely accusing it Ik of treason, net death at Pere eda1 a toaniI# and in the conclusion of the play-withi»»t he-play, Pere eda stabs herself to 21 escape the wrath of $ oilman's successor* Sollnan arid Ferseda depart* bat little fnb Xyd#s draraat le play-wlthia- the-play* and In a lntbp chapter these departures will be . shewn* The fourth play In chronological sequence, Titus wm entered in the St «t losers* legist«p February 6, 1594* by Banter* to be published the same year by Bfiward White and Thomas Mlllngfttm# ^ Chambers eon- cltide* that fit us Andronions nay be ascribed to the pen of Williaa Shakespeare fro® the available external evidence. The title-pages of the 1594 and the 1800 edit low of Tltna contain lists of the companies by when the play was perf earned. The entries in Hsralowe** Msanr are almost identioal and suggest that the extant t«t£ data# fro® ths

beginning of 16®4# and that it represents a revision of Titus and Tessas laa which ma produced in the spring of 1592. Since H«nsloes treats the play as nm, ths rwrtsltn anst law bsen srobstant la X# An allusion by Ben Jons on in > Fartholome^ Fair nskts it possible that ths 1592 version lis was a revision of some earlier work.** Tltns An&pottlsas was listed in Meres* Palladia Tfeala is 1&98, and it was ineludad in the First Polio edited by K«singes and COBdelX in 1628* Chambers disregards the views of Ravenacroft, £• Chambers, P» 305. Ml. X* Chambers, Btaalrsagaaret A Survey* p* 34# 22 who felt that Shakespeare was a reviser of the play and gave only a fm aaster t ouches to one or two of the principal cbaract ere and mmmm* J* M. Robert a on*# views that fit tig A air enigma ma the collaborative efforts of Feele, If! Marlowe* Kyd, and Greene, receive very little considers- • tion free; Chamber#, Who prefer# to use the parallels of TItp* Andronlcvm and others of Shakespeare*# undisputed play# a# conducive evidence of his original authorship# Chambers acknowledges that Titus Androgiieus was one of Shakespeare*s earliest work#, and he attempts to appease • dissent lest s who refuse to recognise Shakespeare's 11 sweet loans hand* In such a bloo4- curdling tragedy, by cent ending that portion# of Shakespeare1# eajly style passed away, and that when Shakespeare reproduced, consciously or u&. consciously, the style of his predecessors, he xaaintalned a persanent style distinctly recognizable in his ensuing l1? s . - works# a bri«tf restwte of Ovid*s story of Philossela la his Metamorphoses will shoe that Shakespeare, portraying • the handles#, t ongaeleas Lavinia, consciously reproduced an episode fro® Ovid* Procne and Philomela, daughter# of Pandlon, Joined forces to seewr# revenge against Tereus, Procne*e husband, who had ravished Philomela, out out her tongue, and iaprisoned her# Philomela was able to weave

**•%. M« Robertson, An Introdugtion to the Study of the Shakespeare Cmon, p» 91. i7K« £• Chaaher#, The gtt&afeefefaaii Vo3L» Iff pp# 5ift45I7» M

her story on & loam, and both she and Proone killed Itys, son of Tereias and Proone* Later, the two women Quartered III# child's body and served it to Torsos, who tanwittingly thought he wn« celebrating & wedding feast* Sbakespssre drew the episode of the banquet ©f htsnan flesh tvcm Setieoa also# lis Tterestes, we find the play rising to e gwnst finale is a banquet at whish Thy eat as is served the flesh of his sons beoeus* of the hatred of hie brother At reus* Ib Tltf And rontons. ?awona is lured to a Thyestean quet that she »| feed wpm hew mii sons to satisfy the desire for vengeaase on the part of Titus* Shakespeare's Hwflsft was eat®r«d «® the Stationers* Begister J«ly 86* 1608, to publishers Kioholas Mn§ a ad

Jdbjs Trundle, Its date of prist is 160S# and the title- page of Quarto 1 contains The Tragical listori# of Basdet, .Prinoe of Dmaasfc* By Wllllsa Shakespeare** There is little evidence for the mmcit date of Baalett however* Cbaabere fixes the date between 1©00 and 1601 because it brings the tragody near Jtiliua Caesar aa a c

3,8Ovid. KetadaerDhoses. Bodk VI.. translated tar Frank ?» Millar# M to mutmmhm* In which be makee tyd the viefeim of immttim, It is concluded that Kyd waa the author of the Xoat plSfp the tftvffaialet* and from the internal miSmma gleaned from eenpar&ag fht Spaatah Twigrtfar. and Seneean w®f%a# w# foal, that the lost play eont&lnlng the Haa&et atory, with whiofe Sliakaspaar# TOdotsbtodl^ was acquaint ®d, waa of Ryd*» eoaipoei t ion, Orlglna of the Hamlet atevy «7 b« found in 3axe Omant levaf Hlatorlae Danioae* printed la 15X4, and in Belleforeat*e Hlatolrae fragidmaa, IS?## low mny of the dlverg«»e«a of the Hamlet atory fron Belief®r#8t ant due to the iftr-IUaalefe* and how nan? ara due to Shakeepeare 1® ara matters fw eenjjwtura.* fti® Haalet-etory, aa trass- latad by Belieforest in his Klatolraa Tragtgaea twm the Latin of ftaxo Ommmtlmm, ia a primitive tala of blood, laat, am rewt®e» It aartiriio#® the aarrlaga of Rorr*en- dtlla with Garutha, and the birth of thair eon, Aalath* f mgm murder® hi* brother, Horvvendille* asd warriea Gerothe, whom ha ted prmlmmlj aeiiioed., kmlmth asaumee mdm&3 to gain tin© to work ©at m plan of rswaga m him as©X#» i»tenrl«sf« his wether in a oloaet, aurdara an oaves- dropper, and is ##»t by fosgon to Bngland with mmm% In-* at ructions for hia execution Aaleth diaoover* tha plot agaiaet hia life, retarna to Snglaad, executee hia IS E» K* Chambers, Wtlllaat Shakespeare! 4 Study o£ I&etg and Problceiis* pp. 412-424. m long-dalayad vaagaanea* assents tha fiattlah throna# md. tlmllf atdaetfa at flit hands of bis Httarnal uaela* fO Wlglara* Thara ara striking raaarablancaa of dxvmfei© tatfeslQist batwaaa Baalat» a® m it* and fb® fgafsa&fs hovarar, % data11ad study

M&m fTm February 35* 1891, to January 2t# 1698* Lord St range* • a»a were performing tha play* antltlad "fhe e«»®d«y of Dose Qraeio* or "The Coraodey of Xermlma,9 in almost tvepj east, a Say or two before a perfomanc® of Tha S^anlah Tragedy. *«turally, we lafer that tba erftrlee provided evtdanea of a humorous foro-pieoe written by Kyd aa an iatro&tiotioa to Tba Spaitlafa. $SSS&» w# have reaaon to doubt that the fore-pleaa survived, aiwo# Benalowe stakes no further »ent ion of It after Jaae 20* 1592* During 1597, th# play gained la popularity* amt records of th# play revaal only tba tltla "Xeroniao*" In 1605* Tha Flrgt Part of Iaraaimo ia listed la tha Stattoaera* Register to ba

SQPred©riek S. Boas, o&» Ml,*,# P« *lvt« 26

published by Thomas Pavler. This quarto of 1606, because of weighty Internal evidence, ta assumed to be the work of an anonymous playwright who took advantage of the revival of popularity of The Span tab Tragedy in 1602, and Manufactured this crude melodrama to dupe theatre-goer* for 22 personal gains. In The Spanish Tragedy itself, there are several allusions whiob seem to assume a knowledge in the audience of events prior to the opening of the action. These allusions relate chiefly to the secret love of Andrea and Bel-lraperia, and the Duke of Castile*s wrath at its discovery* Kyd*s induction to The Spanish Tragedy, 'consisting of dialogue between the Ghost of Andrea and levenge, urjquesfe ionably served as the source for the plot of The First Part of leroniao. ^ The facta considered above indicate that during the period 1586-»160l>, the tragedies of revenge, stemming from Senecan works, were popularised. There is much evidence of duplication in the six tragedies of revenge, and with a knowledge of the chronology, sources, and authorships* we are better equipped to atteapt to reveal the Inter- relationships of the tragedies.

^•Frederick S. Boas, editor, The Works of Thomas Ksd« PP« 3DOtiJS>3CllV* ' ' CHAFTKR III

iw»aREUTioj«iiiPS op six op smmm

ffem purpoae of this ehapter is to detmrmim the extent of uaage of the Seneoan meaner fey shoeing striking ressn» blanoes and interesting comparisons within six tngpdUt of revenge. It la neeessory to atasnarise briefly ths plot a of th« plays under oonslderat *«*«i In m&m that ws may clearly a*« how the drsoas merit th« title ©f revenge plays,. Opening la orthodox Seneoan fashion with th« sp- parltlon of Andrea's ghost* aooorapenied by Revenge, the

Spanish tragedy progresses imp idly tferott^t a series of episodes la whloh w# see how Haltbasar* daring his e«pt ivlty at lis# Spanish ©©art, flails la lot® with Loreaso* s a later#

Pel~lng>erla, and how she spurns hla lov« and transfers her affeotloos to Heratlo, In all la nee with whoa she hopee to avenge Andrea1a death* loremso favors Balthasar*a salt and la resolved to further It at all ha sards* % employs

Pedrlngpmo to spy upon his slater aid her lover. Horatio

la f eised, hanged on a tree and atahhed before Bel-liaperta^ eyes# K©r frantic eries for help as the villains whlslc her away arouse Hieronlmo, who rushes to the bower to find hla son shamefully murdered. Be dedloatea hla life to revenge* but reaolvea to diessable hla grief until he has found the smrderera*

27 f\ ' Cl ^Bel-taperia contrlv©® to send Hiep«nlsfO a letter writ* ten tUh her a»n blood, disclosing the aeeasslns* mass# Hieronlmo, fwiring trickery, inquires about Bel-istgiria aid arowaea the suspicions of Lorenso, who contrive a tfeat Pedrlngano ateuall slay Serberlne, eaa« of the aeecatpllee*, aM shall fall into the hanfts of the «at«ti# After Pedrlngano faM. been eaMeutcd* there 1a foaafi upon hie body a letter from which filer ontac learns that Lorenso and Balthassr ' are, without donbt» guilty of Horat io*s death, this dis- co* «ry plnnges ii$» into frensled a git at ion bordering on raadress* Ke la alaost helpless In securing revenue age Inst such highly-placed offender** He affect a a feigned reconciliation with Lcrenso to disarm suspicion before h« strikes hla grand bloe* % arranges a dramatlo erfc ertalnment on the tragic subject of Sollsaaii tad Parsed** and ao appor- tions the parte that he can stab Balthaaar to death* Bel- taperla stabs Lorenso and then kills herself* SlerenSao explains to the Lorrar-strlcken audience that they feat# witnessed a real tragedy, and to bite# tot hie tongue to vefraln from making a fuller confession* With a penknife, he stabs Lorenxo1 s innocent father, and finally crcwns the heap of bodies with his own body* In the $pllogue* the ghoet of Andrea deelaree hiaself appeased, and lifts the curtain of the future to reveal hia f rlendsasidst heavenly bllaa end hia ensniee aaidat endless suffering* m

%u&Xly as blood-curdling a plot Is that of it second revenge play# Titos Andronlom* • lefewrnlog vietoriotialy frcsi th# Oct hie vara9 Titus Andronlcus brings aa capt Ives, Taaora# <4ueen of the Goths, and her three sons* Titus la offer ad the «r«n# but he refuses it and accept a B&tmenlnm* proposal to w*k* JA

citadel* Fernese notices that treacherous Barabas is standing directly surer the trap-door, and when the cord li released, Barab&s falls into a boiling cauldron. Although Selim* s life was saved, his soldiers were massacred by the esqplosloe, and Fernese holds Selim prisoner, while he. boasts that oceans can he drunk dry before Malta ©an be eonqttered* SI

'h' The fourth tragedy of revenue under consideration is > w y Basil et, whieh Is-saad© up of the desire for ooa the part of a sen for Ills father* Samlet is ©tiled from his studies at Wittenberg to 1&einore by news of his father's death* His sOTvm is deepened by bis taother's basty war- • rlage to Claudiua, the elder Baal et •» brother. Hamlet1 a lover» Ophelia* reject* hia suit at the Insist once of Polonius* her father# lanlet enoount era the ^toat of hia father* *fc>o urges hist to avenge hia foul and moat unnatural death. Ha»l at feigns madness to allay suspicions* and plana to present a play before Claudius whieh contain# episode# that ©losf&y resemble the actual killing of his father* With the presentation of the play, Hamlet is convinced of. Claudius* guilt; however, rather than take chances on aendlng Claudius* soul to heaven by killing hi® as he prays, Hamlet waits fosr a store opportune moment. After Hamlet kills Feloulm by mistake, h® Xm sent to England aM is aeec®p«aiffd by tire of the King*a spies,, who posses# a letter de*nandlng Hamlet * a execution i*pon arrival in England* Esaelet escape© aboard a pirate vessel and returns to Densiaric to find Ophelia Insane because of her father1 a death* She drowns, and at her grave, Baralet and Laertes, Opheliafs brother* quarrel a® to which ttrse loved tier the most* Claudius turns Laertes1 wrath against Hew 1st, and the two plot to kill him with a poisoned foil. In a friendly contest before the court* Laertes wounds Basilst with the poisoned rapier* and in the souffle they exchange weapons, which ensbles Hanlet to wmM laertes fatally* tya»«B Gertrude drinks a poisoned glass of wine whleh Claudius had prepared far Hamlet* Before Gertrude ail Laertes die, they rsvsal the villainies of Claudius, whom Hamlet stabs to dsath* Thou he wrasts the poisoned otip fro® his best friend, and b®&3 Horatio to 11 vs to @1 ear hla mtiae* Aa Bea&let dies, English asbassadors report the saeeout Ion of Boeentrants and Chilldenstern, and Fortlnbras arrives to elalm the kln^Sosa and restore order* Although Soliaan mad Peraoda Is an anonynous pl&f, there Is no doubt of Its olaaalfloatlen as a revenge play. It opens with the arguing of Love, Fortune, etui X>eath a# t© which efearaoter has more prominence In the traglo stosry* trastus «sft Ferseda swear fidelity to saoh other by exchanging a ring a ad a chat a# In a tilting tournament TSmatm wins honors tout loses his ehsln« Ferdimado flats the stela* wfetoh ha presents to his lovar, Lueiissft Fersoda thinks Irastus unfaithful, and in t rylng to rosover the ©bat® fro® Lueina in a dlee gwt»# Erestus confronts Ferdinands, Is aooused of stealing, and kills Ferdinand0« Rrastws la forced to flee to turkey to ®soapt %b® governor* a wrath.. In the meant toe, we are introdueed to Soli*®, Bnperor of Turkey, who is determined to ooatmer Rhodes* B#««se tearath thinks Baleh gave murls# ®mm«& to Soliaan, he stabs his brother, sol loan, in turn, Jills Mmamth fur having taken Heleb's llfo* Erastus finds M

iTM«Al*t* faw In Sol loan1 a ©yea beeauaa Bras or bs« praiaed Braatus tii#ily Sraatms swceaaaftilly avert# being appointed a. general of the fwkfili «wf to awtojmgate Hhodea* feat Brstaor sa! his aoldiera ait&efe: Itiodea* kill

Phyllppo awl Cipria# and ©aptivata Guelpio* lttli®# Baailiseo, Fmadft* a»d Lueias. Gtealpio aid Mi# art atabbad bm&m® they rmtmm to dai^r Chrlat, ftaalllaeo t tints Turk, bt* re» t«m to Chrletendam, for leva of Persada* end finally sieefc® death at tba feanda of Solinaa« Soliaan favors and Brsrtier favojpa Luolmi however, Irasfens Is aeswd «ff treason and is strangled to death, FwrstOa, mtlsg revenge f«r Brastua* death, kills te@i» boeauaa she baa aided Brosor and Sol 1msn in their plane to win Peyseda10 Iw# for Sollsian. P©rseda, disguised in nan's apparel* raaets Soliraan ia •Ingle oaabat and la slain. Soliaan ssteets death because of a poisoned Wtea wtelefe P«rssd& gave fete# *ha f3*y ends with Death possessing the most iapertant ®f the tragedy. The last of the tragedies of revenge under eeosid ora- tion ia alio «nony8Cns« and eot&aine only threa a eta* Jfeg First Fart of Xaronimo ia th* stoif of revenge sought by aeaGiwRABCWfli* ^pwSHmwi** bmmm® h# was Ignored ia the appetising of *a *** basaador to forfemgtil# Andrea was aalaotad to eolleet Spain*a tribute from Portugal, and Lorenso plana with Lazaretto, a discontented courtier, to kill Andrea, Bti-ll^srS*1'® levor, upon bia return# Andrea, i its toad of peacefully collecting tba tribute, inoitea tba Portuguese m to war* 2*orense urges Aloarlo, sen ©f B«k© Heilim* to dis- guise hiaself as Anir*, and wad Belllwperia. Lasarotto kills Alearlo when be mistakes him for Andn»t Horatio does no* realise that 1% 1« not Andrea who 1® slain* and dedleates his life to revenge. When the Spaniard* and Portuguese fight* Andrea la kllXt«t* Horatio take* up Andres's fight with Prince Baltheser, and nakes hla hie prisoner* Lorenzo seises Saltheser*e weapon and also eiaiia# him as Mi prisoner* ens# Intends t© shoos© for hie sister & second love* who will be Baltheser* The ghost returns to Boratlo as assuranee that Andrea's death Is avenged, and Spain1» vietory la assured* Horatio** diminutive father* Ieronlao* highly praises his ©on for his valoroos deeds* Frost the foregoing a traceries of six of the tragedies of ftmpt we haw a gllisps© of the interdependenee of the ashore* I propose to analyse In detail the eloeely related plays and fcrlng to ligbt analogies and comparisons wfeleh will serve to ©assent the tragedies of revenge to mm another and to Smemn origins* Xasedlately obvious Is the faot that all the revenge plays contain parallel orgies of bloodshed* ft*® First Part of lerenlno. is camperleon with so gory a tragedy as The Spanish Twnaeedr. hmmm fareieal in nature? however, there aw euffleient swotink's of bloodshed wrought by the desires of rev©Bg©~s««kers 1® The First Part to warrant *6

Its being linked with Seneean tragedies# la aa rot to mistakes Alearlo few Andrea and kills hlmf Lorenao kills Bon Pedroj Alexandro kill# Rogeroj the Portuguese Soldier* kill Andrea* In only three acta, the anonynoua playwright of the baa tils principal figure* to meet death* • and hi® vocabulary of such word* as "blood," "bloody atreawee," and "oriaaon rivers* is used more axt ana ively than aueh word# are wed in fhg Spanish Tm&$w* shieh haa stt«h scenes of blood-letting that refer ernes to singular words of blood are mmeoesaary. ( In The Spanish ^raaedy there are five Koritaev* two executions, and one death front dwel- lug. Serf episodes which auggeet lust after Ms® horrible are inaerted near the end of the tragedy. Bleronimo bitea off hia tongne a ad murders an innocent a* a. In thia tragedy the Qfcost of Andrea prolongs a net © of aamgery in sayings • . • though death hath end their »laerie. He there begin their endless Tregsdle** la the eonelttSiOKt of Tb£ >1*** Fart leronlmo* the Oh oat of Antrea appears to ass ore Soratio that he ia a bmppy ghost and that hia death tea been avenged* Andgoftlew exceeds the ether five tagediea of revenge 1® bloodshed, there are fifteen exeotstiona and murders; Lavinia ia dishonored, hear tongue is out out* and her banda are aevaredf Titus aaerifioea one of hia hands

^Thomas Kyd* The Span!ah tragedy* IVf •. 47*49, in the «orks o£ Thffaalfal*Sfcltafc tarFridegfek ft, Boas. 57 t® redMn the live* of his eons* whooe deaapitst ed head* are thrown At his tm%$ be slits the throat a of Lavinia's revlshere, while she hold* a has In to eat oh their blood f and the atrocities reach the aenith when at a banquet* f«@da upon be? own seme* .j -^%o» highly poshed than ™»1 »«M» Is Hamlet« containing nine nurder* and death* brougjbt about by stabbing a ad poisoning, &®f©re xaeeting his mm death from an en v® nosed award, Baalst slays Polonttas, I*a#rt«s# art ling Claudius » who In turn has nurd ©red the elder Hamlet and ttartmde* In i&ft&gl&g s«« ord«« of execution, Hasiiat S@§@tier&»ts and Guildeastern to death* Qjihalia'e death by diwalng was the result of insanity# Eaalet is developed into a couples dramatic atpucfture interestingly analogous to The 3pani*h EOUStti* parallel* will be revealed iaa later portion of thia chapter* Marlowe, in Tbf. £2SL J2£ Malta, i* not le*a capable than any other author of the revenge plays wider consideration, In presenting cutragecua and gory episodes to be woven a* thread into his basic plot of revenge* Harlot# give* seven known nurders is the tragedy and list* count* leae other*. Barebaa provokes a duel to death between Mat bias and Ladowiek, poison* Abig*il, Ithaaiore, Pilia^

Boraa, and Bellamira, strangles Friar BewwidlmM aid arrangea for the death* of all the nttna in Bernardino** 86'

Convent, in addition to the deaths of thoee soldiers vho aecaspaoled Selim fialynatfa to Malta* £%rabas Is si 1«*«6 to a omit all thmm atrocities before It# totasM a victim of his mm plotting by falling Into a boiling eatildron mileb h® bad lut ms&v& &eli»#s segmleher* Bated Mart to flt«s Aadronlaus In naserlaal order of deaths Is tba play* jkHlani and Peraeda. with thirteen uwrdare* Erastus' is f©«j@a to kill Fernando la •order to retrieve his love chain given bjr Persadaf AafunAb kills bis brofc her, irnleb, and Sol loan begins bis wholesale slaughter with the dssth cf his brother, Aararsth. At tha bands of SoXimeii* Fbyllppo, Cipris, Chjelplo, Iullo, Ifesiliaeo# Piston, ir&stas, Pars ads, arsi Brasor meet death* i f.-rs^da state Luolna tad brings death to Solisan In tha font of a p@£sou®d kiss, ifaau Sol loan ssnte his faithful hanofeMftxt* Bra®or, to tha bloek, th«ra la a%mm% a rapeiitloit of tha ovgy bloodshed that and® Tfaa Spaptlsh ffimfla&y, where lieronlat© ext ends his vengeance to an eld friend, tha innocent Wke of CaatUe, la addition to *b« basis motives of mizmm tii* orgies of bloodshed, « third Seneean element, the we at the wt be dUUuraMtAo Andrea, in ffa# Samltte

r# returns fro® an oddly classical Hall which ha describes oaniplet ©lyi Through dreadfall shades of ever gl©©sii»g night# I saw more slgbts than thoueand tongues can tall* m

P Or peitne® mm write, or nortall harts mn think* After studying Andrea's entire speech* and reviewing the mythological sases of the tu^erworld* we am reminded oof the ghost of fantalus, in &eneca*s Thy est — . who* with Save&ge* vatebes the events of the play# and consents tq»

Shakespeare* s flaalet* Pros the qpeeehee of Hareellu»# Bernardo* and Horatio, we Yieualise an aetu&l specter* When finally the ghost talks to Saalet* h® suggests a dif- fer®^ underworld froo that portrayal by Andreas • • • Bat that I am forbid To tall the secrets of my prison-house, I could a tale unfold whose lightest ward ft>«M kfwr tip thy ecul, frees# tfey young blood. Make tby two eyes# like stare# start fron their spheres# Thy knotty and combined looks to part AM each particular hair to stand an end# Like quills x$m th© fretful pert eat isei But this eternal blascn nmst not be To mm of fleeh and blood.S When Hamlet d«n*j£s abeolufe e secrecy of Horatio and Haroellus concerning their sight of the gioat, the undertones of "'Swear11 frm the elder Hwlefe are ©hilling resladers of

%honas Ryd# the- Spanish ff-ragedy^ I# i, §«*B8* *VlUi«i 8bakeepeare, Hwdtt, I. •, 15-88, ia fho let® Works of fillies Shakespeare* edited by William 40 an actual participant in lb# tragedy who cannot r«t until his foul and tmnatwtl warder baa bean avenged. In fitua Andrcmlous» a© use of the #oat la employe# however, Titus appaala to the gods for justice Is ap.paaae- me&t of wrongs rendered tola, fie shoots srww bearing messages to Pluto, Jove, Apollo, Hart, Mercury, oad Satuwu Titus feel* that just lee baa fled tbe earth and that she ml b# a ought fir vndmgrmdl *fla you «ust dig with aattook and with spade* And pi free the twmmt ©enter at tba earth*4 with theee lines nay be capered the paaaage where Ili«roaimO sfearas the conviction that Just ice does ndt dwell on earth! Though m thia earth justice will not be found. He down to hell, and la thia passion § Knock at the disaall gates of Plufeos court* The law of Malta has no #»ost a« a participant in the . subsequent tragedy* or as an oivlookarf however# Marlowe uaaa the supernatural to produce a Machiavellian eetfclng, Rachlavel vewst I count rdigloii but a ehfldiah toy, g And hold there is no sin brat lgpcvaMM* ®fe« we becoaa aoq»al»t«d with the character of Barabat, we are convinced that he la imbued with the Machiavellian spirit*

**111 ta» Shakespeare, Titus A^ronloua, It, 111, 11*1S» • 6£bs Spanish Timasda:, Ill, sill# 107-109* eCkrlat«pber Marlowe, igg, £& ««* wmwImk Chvist onhar Marlowe » edited by A* 1* Bullia# tt

Mia*! §M fxe*.*6* intTQdncm a afeorw of allasori- eal figuraa, Forttma, Lova, and Baails# to argtxa at tha and °t wch «efe| lite tli® Short of AnAm and Bavaaga la ffha Bpatilab fmEtfn feowavar, Aadraa ia soft so Jubilant Is countlag the aimbera of deaths as Ia Death at the eon. altala* of gjgl Paraada* Baeawaa Aalm tad expected to aaa Balthaaar alala, iaatead of hia frUnd, Horatio, Rawaaga apaafeat Ba still| and ere 1 lead thaa from thta plaeaf Ha ahaw thaa Balthasar In haavy oaaa*7 Cartalnly %«p «aa«taa all of iiim1! daalraa for ravaaga, tsfl at tha eonelualea of Tha gfwmtah f tanadar. Bavaaga aarrlaa further Andrat'a with a* is aaylagt Thau haata wa douaa to xiaat thy frlairta and fomt to plaaa thy frlaafta la aaaa, tha past la woaa«® Daath, la S*Hwm and Paraada* trtwpha way X*ova and Fortnaa anl concludee in eerie faahloni

I# now will &aath* ia hit most ha tight ia pride, Fatah hia iaparlall Carra front dacpast bell t A ad rida In triumph through tha viakad world.9 Tha mmmnpam* awttior of fh£ First Fart of larwimo doaa not iatroduaa a ghost until tha aoaalusioa of tha trsgady* 8uggaativa of tha pre*aaaa of a future ghost is tb# dialogtta betwean toyenso and Lassarottot

l>or» Ccna than, how ara it hap# Andrea aball ba erost»

7IM Saaflfk **# IO*HU 8 Ibid.» X?# *, 45-46* 9MJsse isi. 42

Lsz« Let me® alones Q® turn# hiss to a ,rrw""""'" gb©ii«tt»*0 At the conclusion of this tragedy, when the call is made fur ft boat to transport the souls to fells# or condemnation, Andrea's gfcost, by signs, ratb#r than by oral procedure* shows Horat io that his death bas been avenged, and that ths passage to rest cannot be blocked* The forsgolng discussion shows us the Inevitable de- pendenee of the trag«dil®s upon Semec«n plays# To establish ' further the Interrelations of the revenge plays, it %» Interesting to see what direst parallels ny be drawn front the worfcs of Kyd, Sarlwe, and Shakespeare* Aaron and Barabes have parallel speeches in which they gloat over rot hiss s crimes. Aaron, when asked by Lucius whether he is sorry for coiamitting heinous deeds, deelarest Ay# that I had nofc done a thousand aore* Iven nowf I ourae the day . . . therein 1 ASA not some notorious lUi As kill a nan at else devise his desthj Ravish m maid* ov plot the may to do itf Accuse so®# innooeBt , ®ik3 forswear myself | Set deadly eralty between two friendsf Make poor men*® cattle break their necks? Set fire m barns and hay-stacks lu the night* And bid the owners %ummh then with tears, • . . And nothing grieves me heart lly Bat that I cannot do ten thousand aore*** When Aaron has received his sentence to death by starva- tion* his reaction Is as followst

I an no baby, I#that with base prayers

10The First Part of Ieroniao (author unknown), I, IN# TITHE. " ^*Tlftus Andronlcus» V, 1, 124-144* m

J should rap vat the evil® 1 fcava dsns* $s* tfesugsaA warn® thiui #*sr y®t I did w«m I pmfmm9 If I «tgbi havo ay villi If mm g&ot 4mA &» *11 -19 ***• X.gld* t do rspsa* It fron Hf *«*y soo!*** Correspondln& vitb Aaron* • oatalsgas of atiofiltln 1* §afmt»i»|; 11»U A# tmw t mUte abroad o* nights Aral Mil sick psopls groanlag aaSsr nails* «* S«at*tl&st 1 g» abo** tBd pofsoa walla * * • Basabaa aoatimtss his boasts of suoh as rishlag prlssts with btxrlals# digging gravis sad ring lag de#»a nan's Mil*, slaying frlaad a«4 fas la ths gulsa of' soldla** batsg s filling Jail* with bankrupts, sad driving aaa to hang thmsalass* «haa Baratoas mlitti that ha Is to dla Is tha balling aaaldraa# his words alwoat parallel thasa of krnmM Tkm* Sasabaa* brsatha forth thy latest - hots* &ii I® tho twy of thy tasMuta a*«i«a to sad thy Ufa with rasoltftloxu « « • Y4 Dls lift, fly aonl# taagpa ouraa thy fill# aa& dia« - loth and Kjd as# folded rseoaalliatlSB •ms«»» f spots# flllsd with hypocrisy* *««* Saturate*!® to bafriaad Tit as la tho faUaaiag aiaftsMU

Coma, eons®* awasi snpsror* oaaa# MMUoaAn<5ronic;u*4 Ytffca' ap this gpad ©M ma aafli ohaar ths |§arfc That diss la taapsst of thy angry fraaa*1*

v* ill* 185»190# fift St «»»», II, ill# 177-179# v» *» sa-93.

*%Uaa AndronlStta* I# 1# ISM86* 44

Castile suggests a siisil^rly hypocritical «©«# in Tb» Spanish !«gife between Hieronimo aM Lorcntoj

But here* before Prina* Balthazar and ®ef 1fi Miig@« eaofc other ansS perfeet freeHae,** Claudius lit gtaa* plots with Laertee to render Bsjalet * a death blow, and tries to pretead that the fencing la but a sport between brothers, Immediately after the reconciliation scene la Titus Andr«al-*sug.» Titus arranges * h*»* in honor of %iwalnus* laarrlifcge# iteicfa rcRdndtt us of the scorn In £& Spanlab gyaiaiig la which Hieroni»o arranges . to entertain the Hag and the Portuguese Ambassador with a masque# Btually as hypocrit leal a scene is in fh# Jjg| of Malta when B**abas plana with Ferneae to have a faaat for Sell* Calymih and hla soldlera preceding their aas- sacres. We are lamedlately liapreesed by tba lack of pity which one character • has for another. Ia Titus Andrenieui » al« thcragh Aaron's refusal lo ispwt for bis crimes dees safe cc®i«ii; sympathy* Lucius sentences Aaron to daatb by torture! Set bin breait-dfc*r la earth, and famish M®f Thar© let hi® aV#8& and rave and cry for foodi If any on® relieves or pities hi*# Pop the offence be die®.1"

l%ha Spanish Traasfty* III* *!•# 154*185*

^%itua Andronicua. V, 111# 179~188« 45

toots® # In bis aanteneing Tamorm, just if las MB look of pityi As £m that boiiiou* figor, fmom, Ko ftmoral rita* nop mn in wBomlng «•«!», So sicmriifttll ball shall ring hm burial* But ttoro* bmr forth to boasts &m bird* of prayt 1®P lifa vat beastly tnd d*vei& of pity* Acd^bolag so* ttell faawa like vast of pity*1® Whan B&ymb&a* b®% is brought tiaforo tho Ctararao*, aft or Bwrntrnm has foigjnod daath by poisoning, tho Sw«wi« OrdersI for the J«»*s body, throw that mm tho mils fo b# a prey fop imltwros and «1M boasts**® fbo Ghost of AaS?» shovs a lack of pity for his foot as avidanood by tho following request »ada of ftovosgot Lot «• be jndgo ana &om# tho» to unrest. Let loot# poor® fitta® from tho Vulttty#* And lotion Clpria» .supply his r©a»*^ Astros Is oagar to plaoo his friends is ems®, his oxtonlos is w&m* ffeo Qotronsor of Malta teas a# pity for Bavabas in tho speech* Should I 1» pity of thy plaints or thaa, Aoouroed Barabaa, bas© Jew* rolontt So, thus 1*11 so* thy ty*a«b*«y papain. But wiafa thou hadftt bahavod tho© otherwise#.®* l#ny Intoraat litg par&llols In phraseology found la tho works of Iy

10M§»» ?* 198-tOO, X%ho If «£ M**ta» f, 1« 53-60. ®%foe **Tho Jew of Malta, V, t, 75-78. 46

*f tli® %hr#« authors* dapand®noa tip on oxta aaothar* Stat#. mmt& concerning limitless beuadt of lov® ara fouttt In H& Spanlah *wtg§

ghiror** I our® sott I# know ah* and all the worMf I loir© Lavlala mora than all tha world#8® SffiiSl* 1 l*v«d (fchellat forty thousand toother*, §mM not, with all their quantity af low, Slake xv ay aiw#®* *» Hi faUg! Hieroaimo 1# digging to tha ©apfeh to flod tha body of fcla son to exhibit, he «?l«8! Away, Ua pip the bowels of tha earth*2® A «UAkr passage la included la ffa^ J® ©£ Maltai . • * * Raping tha bowala of tint earth for the®.26 Hleroaiao aod Mmmm have alallar apaaahaa ooatlstlog of a play t^>O0 words* Mm- therefore will 1 reet ae la onreat Dissembling quiet la vmqulet»oaa Aaron* But let .1* foamoraJ r©st la her unrest awhile.28

Spanish fuge^i XX, *i# §»«* ^Jtj® Andronioqs. XI, 1, 71-78* bit* ?» 1, 887-20»« •*fc» 2z&satt» IIX* *i£# n* ®%ha Jaw jg£ Malta. 1, t« lit* ^SSflt £B£®S&* ***» *"# 2M0.

^fttus Aadroolcga. If, 11# SI* 47

Titos and Hi«r@nli§0 give axpraaaioa of thalr mmmtm t&r ductal* and »m reapaetiTalyi than must isy *aa b# »#ir«d with hit atgjtuft, Thau met isy a&rtte with bar tear© Be&m® a deluge* ovenflawad «ud MtrnWm For wm amidst thaaa dark* and daathfttll shades, _ To drfffi thaa with an osaau of ®y taaras*i than Chiron aM moritar ftaaalaxms and drag off hi* brlfta* Chiron interrupt# protests with! lay, than 1*11 stop your aoafcte*** Whan Loranso aad Belthazar vu&ar Ummttm 4a Mi© bowar and drag off hi# wiatreaa, Lorenao at apt Bal-inperla'a protests with the following woapda* Coae, stop her movthj amy with her*58 there are Muqr parallel ipisodes la JTJja fpaiilat* fmtajy and jWfawm and fwmwdk whicfa lead ua to &©lteir@ that %d I»tr@ sM later worked out a longer play, Sollmn >aa Person. ' '2a the latter play, tha aatlon £» afalftad atnreptly fro® to m&Am at regular Inter mlsf lyd usaa tha aaste teehnlqo© Is ahlftlng action fro® Portw^l t« Spain* Shan Solium» Mils hi* brother

L», 111, 1, 228"280» ®%be Smala-h f raised* It, w, ®»tS# **%ltwi AMroslmis« XI* Hi# 1SS»- *^QMt Simulate t&m&> 21» •** 48

Amuratfc for having aXaia Baldb# if# ®r® restated of the sees® ta The ftwaif it fntge^r In which the Vleeroy appears between two l«rda# one of itea»# by a etanpge of tresehefy* nearly brings the other to bis 4Umm» ffei-s eeeue la followed by the first tender Interview baft ween Herat le and Rei-lraperia, and is Sollaaaii and Pe*aeda« after the *iNtiNN& between the brothers of S»lla«Mf Farm ado and &ueiaa «*- change words af leva* Fernando %mtm thm$

A® fits tba tine, eo now well flta tha place to ooole Affection with our wogde and lo©|©% It In qw thought* be MabSanfc etsspathte*®® Horatio ha 3 a similar 3peech to biff alatreaa*

low# Madame, alma % favor of yowr love Oap hidden amoke Is turned to open flame* And that with lookeg and worde we feed oar thoa^ita . . *S4 The episode is Wlm and Peraedft wtiere Pursed® la do*»ed to mmmfeion sal delivered on the vary stroke of daath has a ©otsifteifjert la The Bmmish tragedy* where AlamjidM elailariy sakee ready for bla death, and la caved ae if by a miracle. AlexaMro*® @ojst«H»tio» on a falae charge la paralleled by the, mriigpaetifc of ftutv on perjure* evidence* ! Th> SpmUh grufta una fhm Tlrtt g«ri at Iwonfao centals Ident leal nanee la the dramatis nareonaet however.

mmi$rnm and Parsed** It#. i, 2*$#

S%£ fgfitoft ll* u* 4i the characters have nothing In coamon hut their mmm* The first Fart of Ieronl»o t» a medley of fare# s»d Mlo* drama In eonparlsoB with fhe gpmBlafa ££LS8&* ***• reveag# motif is present IN fhg* First fart. of faaqailiMH yet tareaso Is provoked feces ub e be Called to receive * politic! «jk poix&sunt* this hardly suffices for the motivation ©f r@» v«age when we consider the other tragedies which have i&* pelllng motives for securing re?t»ge# ^ Held lag in popularity only to &£ tuailliti is the tf^ay &«aM» play* Tlt\*s Aagr«ie«i» *tUb hears el one reeemblaBoe to Thyeetce* The wlley where Bassianua Is murdered is not tunlike the noetic of At reus* slaughter of fhyestea1 eons, end the Seneoar. iadehtetotes of the last scene where tmrnmrn is treated to * fisyeslssit hammet in which her MM son* B flssh Is halted is uqmsstiemble* ^ Free the foregoing par&llelisiss, we can move Nearly see the Inteftspendeace of Kyd, ierlwe, ami Shakespeare, Of rnmb interest would toe a surrey of the ®aiij»er in whioh the writers creete& unforgettable dfessaiOters* lis attespt* ing to analyse the character portrayals, we shallw® h«r the characters s&ployed certain dramatic devices- to further their laaifMml plans. W# shsll consider the principal figures «f f|t Sufntish Tmm&i* fit fit and because the revenge-eeefeers baw ft grater tenacity of purpose than have the heroes of The Ig SL MIS,. soiiwb ss£ «nd aa Zksl IfciL 211",°nlaa- 50

uses thi? desire for pcwrer mad for & woman a*, \ motive# which necessitate revenge ofi the part of Hieronlao for hi* aoa, 8e»tis» ShskMp«9ire fnraishea Titue with the dec Ire for refuse for multiple injttttlees he haa «a» tored* Haaaet eeeks revenge for the death of hit father, Rleronteo has ft® prominent part in The Spanlah Tragedy until# after his discovery of his ecu* a body waving is the wind, he dedicatee hie life to §mwAmg revenge*

These few lines reveal hie determination? I# heaven will he revenged sat ©very ill# • !f@r will they staffer »«rder iwrepafd* %#» stay, Hlereajiwo, attend their will* __

For mwtatl men may aot appoint their time.3® Haulm*® IndeelelOD to aet la well expressed in hie •olilo- W* after the ghost of the elder Baalet lnfoiwe hi* of Clataditai' guilt t • • * To diet to sleep; fto moref a«d by a sleep to aay we end fbe h^rfe-a©h@, and the thousand natural shores That flesh la heir to* #tis a (Mrammt ion ©evoiatiy to be «tsh#d# • , « Ana wakea m rather bear thoee 111® we have Than fly to others that mm tow not of# ftm# conscience does ssake cowards of ut all, AM thue the native hue of resolution

Hamlet delays in killing Claudius bemm® to® is not wholly convlneed that the ijhoet Is not a devil sent to thwart further hie perverted adnd. When Haslet deeidest to have

^%he Bmxfato Tragedy. II1# xili, l-«. g63aailet* III, 1, 6&~S&. SI

s p»0up of plsy©rs r©-©na©t Claudius* ©3?i®« in *Sfe® Ku*d«r

©f

« * • Tbs pU^k tfa© thing "' w Vhsrsln V1X eatcto th© oonaei#iie© of the king#*5'

Issaleft mes th© pX*p»witlil&»tb*>»plfty to prutee© ©o»clu«iv© widen©# ®f CXaMi^a* guilt | y«t» further irr*solut©ii©ss

1« sfaosra «fe*n Hamlet finds Gla«diws pf*yi«g» Banlsfc r©» fuses to kin Claudius sad rationalises thus* mmA# sad lmo* thou * more horrid temtt Vfaen h« is druisfe ©sleep* 05? im hie rsge# Or in the i&eestixeus pl©ftsur© of his b«df At game, «p at)out sane set That fess a© r«lish of saliratioii la* 11 Then trip him# that his hs«ls »| ki«^E at heairen And that hi© soul my b© u damM and hlafck As hell, ©hereto it goes* Sa*let * b delay is du© t© inner conflict J Rl«r©nisi©» s d©» It; is due t© external prohlans* Bierosta* is imiuti c&ppad at first hj aofe taiwlsg who has murdered his son* When

B«a.*i^©rSs sends him s letter, penned Ir blood, aaaing Lorenzo and Salthasar# Hierouimo refuses t© aee©pt • the lelter as proof of th«ir guilt* Biereniao, after feeing cmwlmod of th«ir guilt, delays frees, use of his age and inferior soeial position* Blerenisw sis© usee s play ss s devie© for gaining reveng©* faww, whereas Hamlet mmltd to 1*1# the play i» ord«r that tie «si#t fulfil Claudius' reactions, HIeronlmo dolos out the pa its of his

mmm*m 11* II, «02-e05* Ill, iii, 45-50* m

play, "fto&iaftft and Feraada," ao that acttml murder® a*j be p«sr£@i®@d ttud©p color of stage business# Xyd por* traya Hieronlao t« an old MS, and hla frenalad owtbureta mk* m mllti that hit ®adne«» it not felgaed* Unlike

H&eramme* Baalet assises aa "aiitle disposition1* la »d#r

that he my iOlay atiaplolotia* Sas&et aaainife to a happy

eharaetevf hi# retvoapeetlon preventa mirth#- »« a#® the

true Hamlet when he la al©»©. Hia obvious brutality

toward Ophelia U overlooked whan w# read of Haslet*a re*

am«fttUy paaeienate outbursts at Ophelia^ grave* Hie

brutality lowM Oerfcrade eauaes ae la ok of apspathy for

hiaw tolifc waa shrairdly istelligex** cruelly kind, and

reaeluta&y lrreao3Lute«

fltts# Aatoovlewi oosmuda ear ayiapathy front Mi flrat

stag# «&»»«*# W® ara aware of the aeolaoatlmia to® r#»

eeivea for being a victories* geaeral* however, ha aourne

tha death of hla twenty-©»e alaia mm* *® admit® Titua*

blind loyalty to Saturalaua, but hardly are we in apa-

thy with a father who Jdlla hla. wn aoa» who to* triad to

interfex* with Titua* loyalty* and we c&unol; ayapathlae

with a nan who takw hla daubster* a life ao that har steam#

ml git die with bar* tltua never loaaa »l#it of hla d*.

aire for vengeaaee beeeuae lamnerable Bufferings ara ia»

flloted UJJ©» him. Titua aaata&ea aadneae ao that a delay in 8 eeuri eg revenge la hardly not load* The in^uatieea p tied

npiTltaa h&v® not enough, laps a of tlste bat ween than for

a delay In aetioa to be dlatraotlng to tha readerv m

Wimtly as Mstsndlag ehawM^era mm the vlllaias in the tin*## plajm* la Th£ Spanish Tmm$& t*Qmmo*s character Si deteH^ped with warring oon«ltt«iHqr from th# moaeat he assures Balthazar that h# mm via Bel**!wpmrim** Iw&» Lorenso gives wlee to hie themes with th® feJU- lowing statementt I ha ire already fotaid a atratageme f© seuast the bottom© of this doubtfull thea»©»3® **» &*• imrnrvlm with Pedrlagaae* korent© a hew a bis de~ tmlsstlea to force the servant to toetraj B@I-tiaperla»s eonf Ideas* »e is the vlllata *per e*oellenee," iM his character li the sabodimejit of hs-poerlsy, eynleisai* cruelty, and leek of hmmrn sympathies. Mp@st la fttus L» «»<* Barahas, to f|£ Jew *>!*•* are typles! villains. A catalogue of their atrocities and parallel speeches eh owing their reftiaals to repeat for their crimes have toeea, listed la mn earlier part of this ehapter. «• «w aware of the fact that Aaron# Barehas* and Lorenzo let a© pares* or thing stead la the way of their evil* doings* ClatKlltia# la Hamlet, has a ©hameter with sons r#» dsnptiosw Hie teal le sot so blaefc ae these of Aaron aad Barabas. After Claudius toons that Hamlet le aware of hfc guilt when "The lwl» of Qmmgon la staged* Claudius esea^es to his roots to pray for atoaeweat ©f his alas*

ggfflMft SflMMftr,* IX* *» 5SWSI6. M

Mm realise* tfeo futility of "words without thoughts* &M dsftsmlss* to gcft.Bmlvt oat of tho «|# lis plan® to haio Haslet oxoetafced qpen arriwl la SngUnd go sway# and bosauso ho plots with Laortos to kill Hax&rf; with a poi* sowed rapior, wo fool that ho is reluctant to porfopa tho warder hlasolf* I®. ©r« of tho- aforo-raostlonod villains would have shown amy hosltanoy is oasmltting a wwdwfe Zoimq, la First. Fart ^ Imp-mima* %m far tmm boing tho typical aristocrat lo villain, M® stoops to midigislfiod Jooulmrity with £*s«?ett0» felt accomplice. Lorenzo*s childish suggestion to Alosrlo that ho via Bolllaperlft** lovo fey disguising hlstsolf In "a onlt jtut of AaAroa,f oallors* glvos no hint of p

parrlaa Baithaear*# worda of l#r#a®d coro- pletaly ilasfieBi fe*p havtglity reaerva «b«ai »tet allies U®%>* ®®lf with Iof^I© to avenge MMrm*# daath* In Tha First Fart gf tmmihp Ballioperia ,1# a sent laantal * "taenia t tag emtwt with no prominent •jMMMtoM to build bmr reputa- tion aa & self-reliant haroln** Abigail 1b Tha 9m jf mi Is waofa Ilk* Balli&peria of Tha Flrat Part of • Xaroaigto* Abigail could also parallel Optoolia1 a -ofes»©%«r In lualot In ifest both gift* aofcalt willingly to paraulal Pentad* reaembla* Bel-isaperia of ft*# Spaalah • fngtir i» her pevwrn ©f repast *e a si in her «elf-s»eli&i»«e* Persesla'a detatwlaatiois to- a¥©nge th© death of Ernst tsa new falters# X«vl»ia, la T Itua Andronion*» I® leu# oarefully drawn than any of the ettw harolnea j she la out- atandingly absurd, anfl possesses no part of d©»p@r®to r#» vangefnlaaea* 9b» f*ol« of Tcmorct In thla p%Aj is note prominent than that of ^tlnla* femora %mmm no etreng impression until ate# Inltlatas hey adtOM of revenge aanetlosiing tha ©otragas of Pemetrlua and Chiton apt! net Xenial** flafcrai^oal th© rest of the tyagedy* femora Isa- presses w® wttte her vDIcImrui idaaa asft b^jroeidttoal nanaer®» la a dleeiieaien of soia# of tha eharaetore, it ia necessary to describe tba ©iofcdit# In the tragedies of nwg% w® find the use of ©dale relief, trbeFeaa in Saaeean playa, there ia 110 davice fw relieving tension* Tb* S>mnlsh contalan almost an independent little linedy in tii® grialy Jocular episode of the trial milI «e»

eutlen of Pedrtagftao# 2b® Boy# who oarr!#® an esptf beat* supposedly ©oat&lnlug JP®

oooio relief* *'he two €kmrn9 with ap&daa, Jest at their task of (Jigging Ophelia grave* fhr«gbo«fc The First ?»si .«f gleroiilaff there i# a eonle under-plot. Lasarotto hwerously point a o«t that hit MM suggests that his body is "rotting in this lasy kg^* fte® principal figure Hlerottlmo, aisaks into buffoonery in ww$ a dene vhare he appears* neither fltue AMponiem mm ft*# ^ew of' Malta has comic teaeWi* -I'" Pkw the foregoing diaeuMlon of similar it lee in plots of the tragedies under dli'®y®#i«3% we realise ho® they fell into the ©ategory of rmvmge plays* Mt t»g«% I >a»3t8„irimipal ©hsmeter seeking revenge* ^#he methods for attaining striking yet grotesque situations bear & d 1st!not relation to thoee of Senega* 3? he authors cC the tragedies ©f revenge " £*31a»ed Stawt'i preeedewt for having horror piled on horror until la eaoh conclusion, all the loading characters met death#- la reviewing aimlogiea and ecnpariaone of parallel epiaodae and stook Seneean m

/ characters, we easily recognise the lotemlst 1 onshlps of the plays} &A the mutual dependence of tbe authors °ne another and upon their predecessor, t(W©ltffl Seae&u : CHAPTER If

DRAMATIC Am STYLISTIC Ef¥IC!S 11 THE SEVSSGS fMm

fba prooadlng etmptmm I»vt mttmspted to trace tba rolatlousbipa of tba mmm® pMya to their aowroaa* and to indicate a ana ist*fva&«ti«nMhtp* asong tba playa tb«a~ aalvaa* fba pmi^osa of tbia ahaptar is to pra»«nb aavaaal dMUMilia and etjllatio daviaaa of tha trttgedlaO Of XVVaitga, ©n& to tmaa tha liu® of daaaazA of tli# plfif# fpew &mea& to tfa« l&is&batha&a#

V-' m - *| - «...... / n fmfaolag a dlaauaaloo of tha draaatie darioaa, a briaf afeateh of tha aigpiflaa&oa of tha aborua fit Qvmk trsgody la necessary, became t»m the C*reek chorus stem % tha Sanaaan ohorm and tba EH*abatba&

8SIS** *• xo* 60 as to the fat tip# of the leading character*, or of the mmhwm of the ehopua thmmmlvm*® x ^ la Seneca*a ta&gedles, w# find the ehosms used for the furtfaenanee of rhetorie&l effeets, end the d#»dram~ tiaatioa of the ahorus is a striking feat tire of hie tragedies# fhe ftinot ion of the e horns became aeeha nieal, that of anHOtmeiag pereotm on entering, questioning mm* setters, or interrupting a lament# &ven in its exereSae of auch naehanleal functions, the ehorus at lima appears

Ignorant @f what hee takes place in the eooree of the play# Several episodes in Seneea's plays shoe that the chorus

4 ma Invariably absent during the progress of the action. y Infftoestes* th e C&orus the reconciliation of At reus and Thyestes, asd rejoices mm the poser of 1OT« between toother** although the preceding scenes expose the plot of Atre®sf crime, uwJeiag reeondliat ion tii brotherly low iaposeible* & a later episode of Ttarsstes. thfc ahorus aates the reason for the uanatusal datfeness, although the explanation haa been gives by the Messenger who described the »rtr of ?hyestes' shlldrea* In Troas» after a <5©tailed his been m€m of' the ap- pearance of Achillea* shade* the Chorus concludes that there ia no such thing aa existenoe after death* Such

%illlam I, Bates, tarjaldea» pp# SS»M« %«ard V» canter, IE IM fraiscdica of 8 enema. p. 35* ^ s <5>, ^ r,,:> 61

relations as Seneca* s chorus bear to the d»»atlc action art regularly found at the beginning and condusicm of each of his five acts* uses a ohorus to review -«*— preceding event® and to anticipate future action, In analysing the introductory and concluding remarks of the chorus, m find that they abound in detailed descript ion 7f of all kinds, expanded enumeration and characterization , "f -4 _/1 >,A „,J.f v ©f persons* things, and places* and in recitation of J«.U. material composed of a moral and philosophical character*

Thmmm Hughes adheres to the eetablished tradition of the charts©. * four In Mmfesr# la fh« Misfortunes of Arthur# His chorus Is tooth retrospective and anticipatory la character, sad In Act V, Hughes Introduces ths Innovation of the chorus in dialogue with Arthur and §sd«®*# Mee of Cornwall* Like Morton &M Sackvllle* Hughea esplofs ths Ruatlus to herald events* To perform the function of the Tragic Chorus, Th&sas Ey& eiaploy® the Qhoat of Aindrea and Revenge to establish the setting for the Spanish Trsgedsr» At the end of mil of tho four sets, Andrea end Revenge take itoek of the amber of deaths necessary for the avenging cf Andres's death, predlet en additional number of forabodinga, sad st the conclusion of the tragedy* the dialogue Is de» llvered gleefully because leveijge ha# sad© poaalble the . assured bliss for Andrea* s soul* Much like the part of Andrea and Revenge In The Spanish Tragedy is the role of the Cborus, consisting of ths allegorical figures of Fortune, l»ove, and X>eath, In the anonymous play, toliiasn and Perseda* The three menfeers of the Chorus open the tragedy with an argument as to the preoslaence of each member to serve as chorus In the tragic story* At the close of each act* the question of prstfmlnenee Is still debatable} however. In the conclusion of Soilman and Feraeda* I>eath triumphs as the aost i aperient mmbmw of ths Chorus* 63

Xn f ha F|rat >ar> of laroatoo* tha author

1 has thraa members fm hta Gh@rt»# Andrea a Sfeost, !Urraiiga«a»d Charon, although the three wwibar* 4# not appaar usitll the third and last aet« Tha Obortae fats only m ®lt$it eoBM«ltOB with tli# context of the tragedy* Rrranga a Mo*® Andrea to shop by aetleas that he is pleaaed with Horatio*a avenging raatho&a. Charon hail only on© apeetife ihi«fa ia worthy of seatloot Indeed'tie auoh a tiae, tha troth to $aXl» 1 never want a fare to passe to hell#® In fitue Andro»iitfo»« we see so nae of the ehoraa as - found is Saneeay however* whan Tanora ddaguiaee heraelf and goaa with her two son® to via it Titoa, aha attempta to convince his that aha is Revenge accompanied by Bapizie and Xttrder* Her dialogue with Tit no ia amah Ilka that of Strong* and Andrea in The Spanish Tragedy* yet we aannot aay that tha rolt ia that of a ehoroa beoaoae it ia a feigned role# and In tha preceding playa under diseuaaion* tha ehopua haa been a part of tha dopaaati* persona o« A second dramatic devio® used by tha writ ere of revenge playa la tha innovation of tha dxssh show* In Sanaaa1* tragedies there ia so evidence of a dumb ahow? lta ellipsis waa due to Seneca'a invariable wae of tha ehorua and tha measatiger for necessary explanation of the transience and recurrence of events* In Gotha earlieet English 5tfae Plret Fart o£ leroalmo. Ill, ill, 86.87. 64

tm®®dy molded In Seneean torn* we have the d«»fo show before eaoh act* The duab shoes replaee the antlelpatery ohoms of Seneea, end set forth the incident# of easli aet 1B pantomime* The dmb a bow preceding Act X of Oorbodne *1U t«rv« as an example* First the musicke of Violence bepn to play, during whleh earn# in vpen the stag® slxe wild® sen clethed in leaves* Qf when the ttmt bare In lit# awake « fagot of snail at lakac* whleh they all both itwilIf aM together assayed with *11 their strenglhes to break e» but It eoold not bo broken by then* At the length one of than plmefced out one of the atlekes and brake itt And the rest plneklng ©at all of the other stleka* on# a£t<8r en other €M easily breeke tfeea, the sane being eeveredt whleh being OOBjoined they hod before attsopted In value* After I hey had this doge* they departed the stage, and the Musloke eeased*9 This aetion signified that a ratified state eon continue against all force, b*ot being divided, a state Is easily destroyed* The &wab show was nothing wore than a prefa- tory pantonine. briefing the au&lenoe upon the faet that King, Govbadne tod divided his kingdom between his two sons* Ferreac and Porre*, end it predleted the dleaenslos whloh would be inevitable between the two brothers* Before ©a eh of th# dwfe shows in Qorbodne* it Is iafeerestlag to note that socle of seme origin Is sooa&edU With the ab» senoe of a otaorel interlude, as was evident In the txwge* dies of Enrlpidee and Seneoa, perhaps Norton and Saekvllle Included nueloal ehords to prevent a complete abandonment of the ©horns#

*Oorbodue. Dtsato Shoe, 1-1G* ^fW 66

In fhf MUfortunea Arthur* the ilibwit# d«ai>

«h@i8 prepared toy Prencls Baeon and other of

Gray*a Urn foisset fete# aoet important future of the tragedy-7 freeedlisg eaoh aei it a M eh«r wfaiah make# use of ebaraettrs and stage denotation to f«* five ®&* dltlonal ehova* Hughes has the three Pwles la hie firet dunb show bearing etipe of vine* firebrands, and whip# to signify the banquet and death of Arthur* and the hatred, cruelty, and ambition necessary for the mmMtmdty of the tragedy* Hn#e®# next three duiato shcwe bring out the magnificence of ooattsaing, but they do nc& mmmwtm w> to the agbstitar of the fifth dwb «h«» After the mast# has eounded, four men in blaok appear with artlolee in one hand syabollilng t h e unfortunate rtetorlee of Arthur, a ad with targes 1b the other band uhieh were wiat ely de- pletlng the etruggle* for victory* After the four bmib la blaek, followed a ling in bleak attire and hie page, bearing a target oa whloh wm poitwtyed a pelican peeking her blood to feed her young* The three etrlklng colore, black, geld, slid red, are predominant in all of Hughee' dunb shows* .I>ea® striking than the daub Mb,mm of Qorbodiitt and the llafortunee o£ Arfetor i# the masque given by Heronim© in The Soanleh Tragedy* Hieronlao has praised to

7 John f. Gualiffe, editor, larly ioifllgli ClaeaiaiA p* 90# 66 entextala the Hag aM Ambaisador with ease fom of jeet & banquet. fie entere with a drum, three knights, and three kings. The knight* talc# the kings1 ®&mm•* ftoe King of Spain Is pleased with the short Basque* however, there la not enough tymboliea 1b the dumb show for tbe ling to saSmltii it« meaning, lyd effectively mil em filerortiaio to explain fully the meaning ot the a how* The three knights reprea anted Robert, Sari of Gloucester, Basmiid, Earl of lent, awl John of Gaunt , $ufee of Ianeaater, who had In turn eoaqwad Spain* Thm anbaaaador was to aaatna tram the preaentatlon of the &mnb that Spain wo«M not gloat mm vouQvmrlfig Fortupsl, aince aha had known mtmt at the laMs of English warriors# Shakespeare mm tfco dm&b shorn la Baalet to preoede hia play~wlthl»-t he-play. After the hautbeya play, a King and a Qomb enter lovingly* ffa# King Ilea down to aleep, aad the ^ueen leases htm* Soo» a third pevaoa esters* takes the King*a ©rown, kisse® it, pours polaea in the ltfig#a ®ar», and depart a. Whm the Queen find* the King* a body, aha lament a, and is consoled by the Pole oner who wooea her with gift a and wine bar love. M la Inter eating to note that Ophslla a ska the meaning of the dtsnb ahoe is the mma manner that the King of Spain aaked I1»«b1»o in ?he Spaalah Tragedy* Unlike Kyd, toon- ever# Shakeepeare doaa not let hla principal ehareeter give the neanlng of the dumb sheer, alnoe the Playera enter i&saedlately# 67

A third dranatle device used by lyft awl BMkmpmm is the play»vlthi&-the<»play« Obviously this

Kyd used hit play*vltbi»~the»play to the extent of aiding

Hleroniae to seoare eenplete revenge before the speotatow*

Shakespeare mm his device to enable Basic* to bo oon- vineed of the veraelty of tfee elder ^aalet *s speech •

Bsalst * s play-wi thi»~th«Nplay was "Tbe Mtirtur of G«m»gow with ft plot Mefitloal with the murder cd? the elder fla»X®t» •

Haslet assumed correctly that by watching tbe expressions of Claudia* f ho ooaXd establish tbo King's guilt. Hieronlno cleverly worked wp a play# *3oli»aa aaft fmmmta#9 and as** signed tbo parts whloh Meant aotual death to bis enmlm*

Bieroaia® prefaces bis play wit Is tho following stat «eaaut I

And if tho world llko not this Tragedie*

Hard Is tho hop of old# Hieroniroo.8

A similar remark is uttered by Hamlet preceding his playt

Per if tbo king: like not tbe comedy* Q Why then* belike, he likes it sot, perdy?

Although 1yd and Shakespeare wore tbo only arbors vho inserted a play-within~the-play in the tragedies of revenge under dlsoussion, all of tbe revenge play writers use tho soliloquy as an effeetive dramatis device. The %!»« SpaBlsfa Ig»««ar. XV, 1, 196-197.

%aBlet. Ill, 11, 887-888. 68 soliloquy «&» mw& to retail a situation In the plot, or t« reveal the thoughts of a character, Glancing througi % few of S««w*s tragedies, we find freqiseat »®»©loga«s inserted saslnly for rhetorical effecty however, i» Hercules delivers m passionate soliloquy of despair and remoree ffcen he regains his consciousness and recognizes his dead wife and children, In Xedeau we see the iimer conflict of $mm as he lament® the hard lot assignedfain b y fate, in whleh he mm% either desert Medea or let® his mm life, ftaresfceg includes aior# soliloquies then any other work of Seneca#*** At reus de- claims 1c twenty-eigit bonbaat ie lines shoot his vengeance m Thyestes. 1hen Thy est es returns to Argos from banish* meat, he atteaspts to restore his faltering courage in a brief but ttiou^i-reveellttg sollloqsyt With ithe* the tdtagOOM* geven Is# beheld.# and will retgunta* Beset M late with stteb mishaps, ss ell mm eorate full hard*, I steu&e and Joyfull west but mm agayne thus into fear® I as retume, isy myude aisdoiisfeee, art baelceward seekes to beare Ky body tamaa*, and fort he I draw ssy mee smynst *r win*11 Atrens completely reveals his oharaeter when he soculte mm his plan for vengeance in sixteen lines of oratory*

10lo®ard V.Canter, eg* clt.. pp» 59w»,60#

- Ill, 424-428* if

A 1\ The villainous cfaaraoters in *21 the rev#nge plays reveal their wickedness in soliloquies* Before en evil !\ deed 1» conaaitted, the Atutiesce Is given ample eppoxttadU \ ties to jrdge the ©vil-doors* In The Spanish Tragedy* both Balttmsar *xtd Lorenso reveal their iniquities in &#» aaading the life of Horatio* After Pedringtno bee nuwd • Horatio ma &4L~lxnperim1 a lover, Balth*s*r obseures himself in the garden and in a length; solilaquy* gives en insight into his .Kindj Both well and illi it sates ae glad and sads Olad that 1 know thefeiaderer o f wj lovef ' Sad* that I fear* she hates ae whose I lover Olad, that 1 know on whan to be reveng*dj 1g Sad, that sfa#®l» file me* if I take rtvsngs# Lorenzo reveals his villainous plotting is the following lintst fateb still, nine eyes, to see this love disjoined! Beare still# «&ne eares* t o hear thera both lament J 1,5 tive# hart# to Joy at fond Horattos fall# The 2in»» fpa the two forgoing-soliloquies have a tvo* fold purpose# personal characters are revealed* and sltuat lens furthering continuance of the plot a» . shorn* The soliloquies of Aaron in Tit tie kmlroxiicm and of Sambas in Us of Halt.* ms?« similar to those of Kyd

^%h# Spanish Tragedy II* 11* 111«*11§* lsXb|§«» II, ill* 21^23. 70

previous chapter parallels in the speeches of the villain# haw been not; edj however* I© bring ©at. Bar***** last for - gold* it la neeeeeary to include an exaexpt from on* of bla soliloquies* Altar Abigail baa secured bla Money fmm th« ©omrent, Berates aseelalaai ®y gold, My fortune, ^ felieltyl Strength to mf aottl* death to mint enamyl tba first beginner of »sy bllaai** Aaron* a soliloquy concerning Money doaa not mwml bla ftvarlet) Instead tba raoaiologtte la affaat Ivaly Inserted for plot continuity* *h«a Aaron enter* tba foreat with a teg of ha #*©« life to bla evil pisfe to sanation tli# i^viaiif»g c£ lavlnia with the following lines I Be that ted wit would think that X bad none, f o bury a# much gold late a tree* Ant never aftar to Inherit it, Lat him that thinks of ate ao abjectly Know that this goM amst cola a stratagem* ®bt@h# cunningly affeetad* will toegsi A vary excellent piece of villanys And so repose# awaet gold, for tbair unrest**® Xn BWamn and Peraeda we find frequent soliloquies! however, they are not baa a chare at er revelations such aa wa find i» tls# preceding revenge plays• Baalllaao flaunt# hla vanity in the following lines* Tba fork#®* wfe« thay aaoomift for barbarous. Having forabard of Basiliseoos worth A msaber under prop aw with thair ahouldere. And in prooeeeion bare ®a to tba Church*

1*Tt»« Jew af IX. 1, 48-80. , A» XT*, %%%$ 1«*8» ?1

As I had bee»e a aeeond M*fe

Hsdllia and f«rseda# IV# 11# H-17* X7The First Part ,g£ 72

Wfe«feii#r *t is nobler in the sdLad to suffer The slings and arrow of outrageous fortune, fit le take arsis against a sea of troubles. And by apposing end th^a. , , , ?or in that sleep of death wh@t dreaws amy mmm§ Vhm we imm'skmfflsd off this swstaJL ooil, lust give us pause* there** the respest That makes eatlftttlty of so l«ng life'* » * But that the dreed at something after death, The noftlsftevwr'd country from whose betn ®:@ traveller- returns, pussies the will*1® Shakespeare** language la Hamlet *s soliloquy Is without parallel in beauty* Gphelic gives an Insight Into Hamlet's ehaimcrfcia* Is one of her monologuee after S«al«t Mb a#* vised her to go to a nunnery. Baailet, 1» refusing to kill Claudius at prayer* is afferied tbw opportunity of explain* lag fels deliberate inset loci* Claudius seeks atonement for his sins la a soliloquy which eomands no little ayiapa** thy frora the audience, because unlike afore»stentloned villains* speeches, his prayer is one of honest effort* At the conclusion of Act If, we realise froa Basket's apo- logue timt he is deteralned to sot t 0, fsw» this time forth, ,a % thoughts be bloody# orfee nothin g worth.' .In Shakespeare* s Bsnlet* the soliloquy* which had its being. In Seaecan vorki for the furtherance of rhetoric, reached its senlth* Shakespcsrs wrote the speiwfass so thstt not only the sound but the sense tnvtis easily and effect ively* He made his audleaee want to beer, to listen.

1SHaalet. Ill, i, 55-60, 19Ibid*» ft, W, 65-66* 75 to feel* and to £In oast©ring eoapletaSLy the soliloquy as & drasraitio devie®, Shakespeare sad® hia s«l«t$«8' do full service. His lines were to admnee the story, to revoal character In th® speaker, and to strike responsive- ness in th® listenmm* The soliloquies were not ©cm- pre«8i«i of legio aor were they truly natural* hcwerer, • Shakeepeare ddLIgtoted his audlcnce In lending a Magle toaeh to the speeches whleh «®«ased spontaneous. ffee ©raating and interpreting of ohasaeter wm an assent lal drama t le device of th® Elizabethan playwrights, who peopled their plays with ladlwidoala instead of walking abstrac- tion®# n imt a® similar dramatic davlea* war® «3ed by Bemm and writers of revenge play** ®o the sane stylist1® devise® new 1b most erf tbeee dramas. It ten been mentioned previously that Bmmm abounded la atyohoaythia, a ll&a* for-liaa dialogue, atilah showed tba degre# In wfeiiti tea ma iafl'THmttf In $hm0& and style by the sententious; *@d® of expression dcwiimat In Ms® rhetorical schools of his time* Seneca's use of stlehaaythla In hla treadles take® the 1 fossa of a rhetor! aal "altercati© * by stating pros and et»s# or by making one character natoh wits with another* Oodley very adequately d©scribes Seneca's stiohOBiythla as follow®f It doM not mtter Is th® l<#a*t who 1® taking part in the Seneean It mrmt ever characters 74

on the ttsge, the dialogue la m mnmm&im of throat«"&nd**par?y rapartaaa* &eb spmkmr mhcmm off his alav^P&ass at parrying tha opponent *a foil within tte# allot*ad apae* of a lis®, or half a Itna, ©r ©van a

I» all of Sanaaa'a tragediaa thar-a is so fixed ti»a for tha character* to display thair erudition* Tha following !£»«§ i9m *«&«*• containing dialogs im whiah tb« imraa MUklCMM

Madaa about har outapokan vows of vangaanoa, ax»@ ««platy of Sanaea1 a moralising!

Iters#, lb© waares tha goldencrestad erowna him drad *ith ava ye« should. *7 fathar was a King, y«k I batrayad his Plaaaa of gould. O&rraot tha daadly "eyolenea of wmpom m."m thaa faara? »®# tfcaugi Biwti grt&ly lads thay are • * * Thau wilt thou aaat tfayaalf to daathf Would God that I ware dead# Ply, fly to aave thy life* Why ahall I fly? Fly far thy ohlMmmm stake. Yea sa© by whom, an!! tea** A wretched Mother £ am mad®, Fjflroa. Thy lyfe by flight to mm Dost illm niatruat? Bedae* Hay, fly I will# bt* trangaanne® first il»

K A aeeond atylistie de^iea occurring usbmkhr* tinea in aaefa of Seneca* a tragedies is repet it ion of tha saisa word* op practically tha save word is eueeeaaive «t«te» xtenta* Tha rapaatad word aarriaa tha miad baok thus t

Mot ritches makes a kyng or hi^s renowne,

, B* Godia?* wSenecan in Xoj&lah kitera- tura and tha Classics, edit ad by 8* S.. (h^f^wr

Kofc garsislit w0©cSe with purple 'fyrian die. Sot lofty looks, or head «nelos«ed with crowns, W* gXyttving b«itm©» with goMe and txirrefe* hie.88 The repeated negatives occur freely throughout Senees'i plays# and they reflect strongly the dIsappolritment and displeasure of most of the characters in tragic situations# Seneoe uses o aunt leer class ioal allusions whioh ot&nuaber those of Euripides, his pattern, and in the use of tropes# Seneca, with only twerrty~seven esanples of the hyperbole fiB in hie ten tragedies, must have felt that the hyperbole is too frigid for o apposition® which aim primarily at fore* and striking effects* Kis us© of the apostrophe is mmm frequent then that of the hyperbole* The apostrophe is used in any ttiming aside by speakers from th» lnraediate eourse of thought, to address vividly dlvlnltles, heroes, ' things, or places* In the ten tragedies Bmem unm 157 2A eadtaplea of the apostrophe# Notable Instances of the apostrophe am found fa Medea » wtm ledea invokes thirteen different powers for vengeance upon Creon and hie daughter, *a Oedtiffls* whew Oedipus ealls up or mrfou® divinities to attend, him la his lapr'eeetlsn against the murderer of l-olus. it eg, lip m~®M. This Elisabethan translation rffl«dSTwTI5w parallelism in the original Katla* ®®B4>wa*dl Canter, ©g* clt»« p« 177* 8*Ibld., p. 178. 76

Sim®# a plays were not acted, tha whole fcurdaa ma thrown upon tha language# Seaeoa^ audience was steeped In rhetorio, and therefor® hla language had to ba violently rhetorical. Wmmlty Seseaa had no more than t» or three speakers os tha stage at one tiit% asd aetual poetic qualities vara lacking In hla tragedies, because tha reelted parta ware aonareua* «nS hla audience had to be kapt tens© with horror plXad upm horror* From Seneca's stylistic devises waa formed tha pattern to which KjQ, Mmtlamm, and She kea peer* wara to give life* In Oorbedno we are aisased that tha aarXiaat English tragedy, noldad »o cctspXateXy 1» Sanaaan fomt# ha a ae styehcuaythla* fba Ml* fort raw of jkrttwy ferns Hire of tha Xiti«*f©r*Xigi# dialogues, tha content of whlah la alsdlar to that of Seneca* Vhan Conan, Modrad'a faithful eoun- aeXXor, attaint a to advlee Mardrcd against being wengcfoX, tha dlaXogaa Is as follow# * >r&» I have aa great a share la elm nee, aa ha« ~ I* Bia walaa ba blind®, that nakc&h chasca hiss gaidab I* Whose r®fug® XIaa la Chance, what dares ha »dfc? t. W&rres wara a crlne farra woraa than aXX tha Mord. The safest passage Is from had to worse. • u that ware to paaaa too farra* and put no ateane* Ba la a fooXe, that puts a naana In crlstee* * But sword and flra wouXd cause a oonoon vonadL^ So sword and fir® wlXX often sear# tha so&re**5

Ela fortunes of Arthur* 1, It, 75-8X* rt

Although Hughes doea not \m © etyehomythla to freqttantly m Brnmm- dom, the aorallaliig is very obvlooa. Tbe «stttqr~ mch author of 3oH«an »ni ywad* uses tte® liue-fetwHu* dialogue only ©tie#, when Plat on mad Baalllaee are engaged Is a lively repartee whieh afford* nere east!© relief than epigrams. fb» First fart of lercdao tea no atyehomytfaia, twfc iwt of fcfa® apeeehea contain no kit# than on® sentence of five m Mix word*. Bel*£nperia* in frha Soanleh Tragedy* wiaa the east eat of wit a in two lnttaneea* She eueeeaa- fully mrrlm the love apeeehea of Bait.bazar, aoi provea auperior in intelligence In eenpariaon with Lorenxo. Shakeapear®,. in fftiaa ABdroaletig and is SaaXet, pita atycho*ytbia to apontaneon* draaatie mm* The volleying of phraaea Is inaerted to relieve BOaeata of tenalon or «©it anient* as la found in the grave-digging ooene is Bpilat «ba» the tiro clowns exchange humorous rawnte eon* oeralag the fcofi®# whieh fchoy excavate* 'in fltna Andronlcttg, the atyoheiBythia is employed to further the t«ui«nt -a® ia found in the dialoga® teetwe#n Chiron and Be»efcrius when they view Lavlnla'a mutilated body* Is 61««utti*g the as# of repetition and pasalla&tta in the tragediea of revenge, it la neeeaeary to inolude a concrete definition of the teraa* According to Rubberd, repetition la the uee of the ease word, or worda, In auo- eeedlng lines of vereef parallellam ia the repeated me- 70

of the same form of expression la. suocsedlng lines of ?•«••»** The tin#® repetition of the srnae word is xtost frequently foaad in The Misfortunes of Aatbagf All,truth, all trust, all blood* all bands be broke* Hughes employs ware single repetition than any other typo of repeat®® us©* Very effaotlvaly tssed Is his ccrabismtion of repetition and parallel eonatruetion in the sans® or successive lines i Thare wimp# ppepar&e fch®>.f©w*ei*j# aides from farre* Thm*& were Hie ImrrmtA powers of divers Kings, There were our parents, brethren, soxmes, an! Man#*®8' For the following examples of repetition and parallelism* lines £mm Tit as Andgonlcittti and from The Spanish Tragedy will be used to #««§!»%© the stylist ie device as per* feeted by Xyd and Shakespeare* Both authors expertly applied parallelism between the first half and the xeeond half of the same 11»© as is found in the following! Injurious t*aytor, monstrous hoaioid#,29 Titus* Witness this wretebed atusa, wifcnass L1'"'ULir,r tfaas# or i&s on Hum*

3« Hubbard, "Repetition and Pasall alias in Barlier Slisabetban Snwa«* Pablitiatlana of the Bodwn tmm Aeaoeiat loa, XX (1906 J * Sffe# Mia forties of Arthur, III, 14*

For parallelism between the first half of a line and the : first. half of succeeding U»«t# we have! Itorgngos Thus must w© irorfc.© that will s void® distrust | fhw w»l we pre at lee to prevent alehap#®* Whole line®, whieh are parallel In groups of two or *ore, prodtte* the same dranat1c effect that single repetition of words produce* Both Xyd and Shakespeare frequently use this type of parelleliasrt Hi# men are slaiae, a weakening to hie H©almf HI# oolor® a tilflfc «Mfe© his »«t| s2 lis soon# diet rest, « corsive to his hart****" She is a wcwn, therefore nay be wm*&$ She Is a woman, therefore a*y b® wonj » She 1® Lavlnia* therefor® ®mst be low3U , Kyd'e style of pregrscelv* repetition and parallel!** i« easily detected. In Raltha*ar*s speesb* w® realise In- stantly the feree and power of loglot First la his hand he brandished a sword, And with that sword he fiercely waged w®rr% And la that warre he gave m dangerous wotaida, And by those wounds fee fcreed ne to yteld, AM by sy yeeldlng I beeaae his slevel How* la his stowth he mrrlm pleasing thteh pleasing mavdms dm h&rbotsr #feet conceits. Which sweat eoneelts are 11M1 de with slle deceits, %£©fe slle deeelts smooth Bel-lmperl&'s eares. Arid throng her eares dive downe Irafe© b«r har|» And la her hart set hi* where I stioald standi® Shakespeare does not mm the progressive repetition* however* a dreaatic effeot equally as great Is aehieved by

S*Ths Spanish l»£g§Z* IIX» li» 105-106# SSIbM*» I, 11, 141-145• ^lttts AndroolCttS. II, 1# 82-84. 5%fae Spanish frageiy* II# 1# 11§-M§» m hi* single repetition of words. A few lines from Bralat are worthy of quoting to illustrate such repetition* Ohost* 0» horriblel 0, horrible! Most horrible!55* Hftnlet* 0 villain, villain, srailing damned villain!5® PtiLeedue# That*® an ill phrase, a vile^nhrase* Beautified is a vile phrase#57 Baxalet. Wm*% weep? woo*t rightly woo't fast? woo»t tear thyself?®® Karl owe, in The Jew of Malta, do#a not us® repetition as a definite stylistic device. Instead, he uses parallel •trustare in lines, sane examples of «hieh are as follows} Bet* Se'er shall she grieve me more with her disgraeet !•'» shall all® live to inherit anffbts cf mlae**** Pern. And mugjtit is to be looked f» now tout w*jpt* And naught to us more welcome Is than Bmp« Xteev» governor, »t was I that slew thy son# Know, Calyngth, *t wis I that ained thy ov«r~ throw.*1 The a»otiyw»s authors of Solinan ana Perseda and of ?h# First fart of leronlaao use rep et it ion and parallel sentestew

, I# % 80* 3i;Ifald.. I, v, 106. 37 Ibid. * Ilt ii, 110-111. ^Ibld.. V, i, 273. *%he Jew of Ifelta, III, iv, **-27. Ill, V, SS-SS# 4XIbld.. V, vi, til-Si. 81

structure infrsquently; however, la both plays there 19 a rather erode recurrence of words pertaining to the anatomy of the hutaan toeiag» Following are sorae of the notable passages i

Baa# 1# villain©, I have broke jay shin bcoe. My bacJc bone, ay ehanell bone, and my thigh bm®0 m Beside two does en snail Inferior bones#** ter# My knee sings thanks tmt® yo«r biases borneft ief Come hether, boy Somtioj fould thy |©ywfe#i Kneel© by th? fathers iopMi, and t ha rite my leed^e**9 g

^%Olinan and,. fiiraeda* I, lv, 54U46*

^he First Fart «£. frawM&ns. I, lf 4Mb, 3:-!# il, 149-161. 82 of leronlmo there are no classleal allusions In the first m& hundred It mm, and no examples of the m tli# hyperbole, fyd mm only two classical allusion# in the introduetory line* after bl» Choima bat spoken; how~ ever, it Ss worthy of noting that the Chora* alone has twenty~two classical allusions within sixty-five lines* Throughout The Spanish tmm&z* &y€ uses classical allusions almost to the extent of pedantic* and the play exhibits store iwweroua examples of the hyperbole than any other revenge play* The hyperbole ia a stylistic devloe which i» nccessary for describing the exaggerated evil deeds and • the infc enalfled emotion® of love and hatred# and Kyd's plot for fh# Spcntst* tyame&r demawSed such a figture of speech, the hyperbole 1® abundant ia Marlowe's Jaw of Ml,ft for the same reason, although in the firat one buna red. line*, there la only one exaggerat %m of the number of eaaele, mulea, and wagons required to transport the wealth of Sarabcs* Karlowe uses classical allusions sparingly, and includes none in hie introductory lines* Be does not mire use of the apostrophe in hie play* yet one of hie contemporaries, Shakespeare, inserts the apoet raphe In appreciable numbers, and uses the hyperbole sparingly, while he abounds in classical allusions, M the selected lines fron fttna AMronleus. there are two elaaaleal allusions, sM one exaggeration of atroelties* In Hamlet Shakespeare practically abandons classical allusions and 83

hyperbole while be retains mmwm® exanples of the apos~ trophe« fb® hyperbole was not neoessary for the exaggeration of ©vll dMdi In Hamlet» audi Shakespeare* s stalls tie d«viec« were used evenly and effect ively without gross misrepresentatton of actualities, which Kyd and larlow® required* In reading tbe tlx tr&geites of revenge for tbe sol© detection of poetle qmXttlm# m •ontluft# that the osly %w® real poets were Eyd and Shakespeare* Marlowe* a m» preset@® la phmaed In an ©tdlnary methodj Shakes?** v** a expression. In Haaflet particularly, is a flew of poetle eleQueiiee# a eont imumm lyric of beauty* Iydf'« skill lzi Baking even tbe horrible assume poetle beauty la evidence of his ^ genlit#* In etansarlslng the dramatic and stylist le demises of tbe revenge plays, we find only a few innovations which Seneea did not me* He mde me of the chorus, s ollloqqy, atlehcaiythia, class leal allusions, and trope* Wort on and Sack villa apparently Invented the du»b ahow to further drama fc le effect* H'«gh«s effectively used the d®fe show is ^he foiafortitnes of Arthur* In the revenge ^lay» under discussion, the authors gradually abandoned the ©horns, and depended upon other far am of eacpressl©n to reveal incidents of the plot, or to reveal a character's thoughts* fhe lnnovat lea of tbe play-wlthln-the-play In The Smalsh •mg«4f mum foreign to Seneca*a work, but aside fr« the 64 duab «h«w and the play-within-th»-play, the writers of tha roraxtga playa laoludad all of dreamt its d^isic, tM ialtatad ami l»pro

COKGLtSIOl

It* till# thesis an attesgrt hat been amde to estimate Urn tntlmmm of Seneca upon six Sllsabethftn tsmgndiet of revenge, and to trace the line of descent from hlw to the Elisabefcfean playwrighta who wrote during the last decades of the sixteenth century# Xoreover, a detailed *%«% of the play® with the problems of chronology, eonreee* and authorship has been presented Is order to show some char- aeterlatlee of the techniques nut conventions followed by their authors* ^ The tragedies of blood, whlefa were-4mfeIzed version* of catastrophic filled with incredible horrors wrought by severs of revenge,. were popular for a variety of reasons, among which were the rcmaatlo love of incident aad the neo-classic desire to follow Latin and Oreek model#* The Slsebethaiis fetaid aatlifaetlon In wtt-neetlng the dupllcl** ties and scenes of horror which are logieelly associated with the revenge plays* Is the Elizabethan era* knowledge of the Greek dramatists was Halted, and Ssneea was the classic diwastlet, *par excellence,* fro® wh«w the playwrights took their revenge thanes, their ghauts, and their horrors« Before the end of the sixteenth century anny 8® \V \ •

plays ctf the revenge type must have been in eKisteziaef

hmmm0 the majority of ih-as# bav® perished. In draoatia quality the plays are earspsrable to th

gmtm0 such as Kyd# Marlowe, and Shakespeare who imitated Seueoats patterns of tragedy# Seaeea sat the pattern for flve~aot division* a retrospective i»d maticipat©if cfaorua, • lengthy rhetorical speeches* and wash mpigmmmiti« styoho- mythia. Bia plots war* by no msi eonplaxf there were aeldan more than two or three characters on the stage at one tiia®, and a leading character was motivated by revenge. Although Seneca did have all his characters meet death as the fulfillment of the catastrophe, he oaraftally removed stasis action fro® ths apictators, A discussion of two purely Senesas imitations, Oortwdw ®M The Misfortunes of Arthur* idvoilf that the dramatists closely followed Seneca, but they ware reapostsW ble for the innovation of the dumb show, allegorioal representations which prseeded the various aota to explain their significance, whereas Seneca used the chorus and iseeaenger for aucb reports* A study

Hamlet • The quickening popular dataand for revenge plays resulted 1b keen competition for subject jaatter, and »«®h dupliest Ion Is revealed by a thopottgh study of the source* for the revenge plays* A detailed study of Thcnas Xyd's The Spanish reveals that the story ««s the product of Kyd's Ingenious Bind* ^The play might be considered the peek of the re* v*ag» plays, the fountain tvm which flowed ffae First Part of leronlme. Sollaan and P era ©da. Tltua Andronlcua, Haislet » and fh£ Iff of Kyd* s Sj with Its large element of horror, presua*s m audience eager for scenes of vlolenoe, and simultaneously, an audience very eritleal of dramatic worth. The survey of the six tragedies of revenge reveals the mutual dependence of the revenge playwrights upon one another and xxpen Seneca* The dramatic and stylistic device* weed by the Klisa- betban* were more effectively worked Into the tragedies than were th# sane devices used by Seneca* Bmmmm Seneca ms a rhetorician, andBt of the meaning of his tragedies Is lost In lengthy speeches. His soliloquies were burdened with elassleal allusions; character revelation was apparently of miser Importance. His chorus was Invariably retrospective and anticipatory; his messenger reported action which was excluded front the audience* His llne»for"llne dialogue lost dignity and ease because be Inserted stychootythla at Inopportune stcnentef a person of low lntelleet was too 88 frequently erudite* Seneea crowded his passages with lb® hyperbola to prod his aiadieu©#, The Ellaabetbane had b@ newI for euoh atarfcllng devioeaj lnatead, they oo®» aeientioualy atrove to produce tragedies which had geatiia® poetic ^mlttiee* Lengthy aoliloquici of the Elizabethan playwright a were not sere esaaplea of bosbaatf they revealed Inner thought* of the character®, or the eolllo>~ a«y **» aeeeeeary for plot continuity* In this $«as% the soliloquy of • leading character replaced the Seneean aeaaenger* Tbe Etiaabethaa audience wee thrilled with the participation of the 0m% as a mesber of the dramatic pwwoiwe* The actual role of the gboet and the dt»b shoer were outgrowth* of Seneea'a traditional oho™, The in- ®ow%l®» of the play-wit hin«t he-play la The Spanish f ragedir aad gj^Let «a® foreign to Seneca's work*, yet %d«s uaage of the play*witbla»the-p Jay le a tribute to hie genlw for knowing the taate* of hie audlenee, The whole work riaee at the end to a ellaex in the play aeone* Conteaporarle* found la this tragedy a Seneean play adapted to popular requirements.

Kyd# realizing the need for notion oa the stag®, con- at rooted a play which borrowed 0MMa*» ghoeta anS revenge thenea« In lle» of walking abati-3 ctlone whieh were found in Seneea*a tragediee, Eyd provided eharaetere with force* ful, eapable dialogue. Be contributed a new type of tragic hero to the atage* Indeed, the principal figure® in tragedy 89

txp to bin tine bad hmm mnpemmi Kyd*s subtle character delineation appealed mmt to bis audience. MleFOftist# &mm safe briskly pi la bl» revengef he stoves froa a mere figure* bead In t he first act to a dominant figure who hssltates, falle into nadnesa and indecision, and then cc^pletes his task* Although Kyd presented th© hesitating typs* Shakstpssrs magnifies the character in Eaglet* Shakespeare bia protagonist Into a noneal «an with a wrong to redress* and he la open to supernatural influences, full of doubt, asd retioence. Hamlet la stolcel and fatalistic In bis philosophy of life# and Shakespeare provides soliloquies wbieb donand inmedlate sympathy froa the listeners. The oboice of worSs Is unparalleled incthar ir©rsi©iia of th« reveag# tragedies, Shakespeare applies bis majestic imagination, penetrating psychology, and magic verbal srasle to contribute a «ar?eio«s literary ©reat ion wfctleh is sufficient ©vide®®® a Ion© of his invent lire drswiti© craftsuianshlp. . ^tbm rmm&s plays, after a rapid rise fro® S«@«a» origins to great popularity, achieved lasting suosess* The &lsabethan playwrighte artistically retained the Seneean convent iona of the chorus, five aota, moralising, rhetor!#®! sty©fe

of vtolmm m ttm stag®# th« dumb sb«w# th® play-within- tbo-plagr* ecmplexity of plots, utilization of s«r material . for plots.*; eoist© raliaf, »©f# realistic ebaroeterlsafcions# «nd los^ aiirt iflelai style, tti# Elisabetban drwn&tiots pro- duc«d ^''vrijiupio ganro of s?«®ug® pi*?*

~~J/ Plays Studied firsts tm mi p'^0ss» liox* Hugtutt, fhOBB8, fit# Hisfovttt! V GI&aslealY^" ^ ^ / . «tr«r&# ' 0li"r#aoirTpes»* lilC~~

~~Tboaa«# '* / fo l^s of~~

~~-V^ Bovtttby Yfeoraas, and Saekvllle* Thosaa, g©rbotes* In Early -^®fe Îsssêal^ *SSt #En^TÊit W» SuK'l'lff®, rnvBtrnm Cant bey unknown), la Tfa# f~~

-''-i \ ii •' SJ^S Pfigf1' *®Efes. T»gylt— of Sywaa. «m«d ^»»k J« Killer, Cnle@g©7uEWewiE? e^CSiicag© Preaa, 1907* edited by Fwink J, c&g© Preaa, 1907* V"iS«n.« , luclne 1b The TraflHtl« of SeooM. edited by P*»nk jr. Miller# Gh l«tgo. 0aI7«nity of Chicago Preaa* 1907. 93

~~Chicago Press, IWfm Shakespeare* Villi.aw, Hamlet. 1st Tho Coerolst e 1 gifer~~

Wojffcs OoagultcA im&Aa mw* ity' 'Frees, 1042* Bato*. Vllliam H.. Buripidss* Philadslohi* . Qsivsrsitv of **88»"2085* Baas, Frederick 8», CtHpiatoofaer Marlowe, Cfcfo:rd» Clarendon PrMi, 1948*

yWm*, fr@£erlofc ft*# editor* ffe# fortes of Thomas iM, Qa&f&wtI, Clarsndon Press, lwl» Brooks, €• P. Tuokar, Tbs fiador Praia*. Cambridge, Rlvar* silt Press, 1911* Brook#, 0, F* Tusker* adit or. ftet Works of Stolstentisy (kfwd^ da nHM nNiM * lilfe# X Howara v.. Bh«t o»ic»l ia_th» Tg»g»aiM of Seneca. Chieajco» The ttalvmiliy ofUliaoii Prass, xjfeg; Cfaasftsrs, B» K»#1M &££!, fo*« ^w«» Clarendon Pr®««, 1923* Chambers, E» _E« « JH»ko»|i>earet |&SS> Hew Tork, Oxford University Vmm,

~~'mmrltm, B* B*, Tjyt fepffmi f^«ilt|o| M P1fg:||i^yif Tragedy. Manefcest er, University Press, If 93~~

^tsllffe* JobnW.i Jdttoy, SjMfijrftoftM tmm^k Chtford, Frets,lilt* ;-*£n«ler, Harriett, T»MBidbr» lew (few* Allison, editor, itifilejs la iteisllgta ®mm* Mm Xttrie* , D* Applet on anS Company, fiX7« *'•- 0odley, A« D#, *$exieea» tragedy,® la Bagllafa Lit eratura an& the Plasties m edited by 0* S« ' ilareMoa Press, IfIf * QnnTfllt»Etork«r, Barley, Cta Draaatle Method. London, fte« WtetsilaiUr Press, 193T. 8bnvllle* Barker , Barley, Prefaces to §Mlce«iesr«* Ronton* Sldgpieic sad SmMm# \mi-m ' ^lawat, n L..3«n«brWg«, &n«fS Utolvertlty Press, liiS« ftot* ?», tttttr, |M T^fadlss I«8&» Chicago Silvers It y of CbieagoPress, 1©0*7#

fttwttg* Th««# «*»<*, SmgBjIfc If SIS, Sew York, Alfred A# Knopf, lft7* Nlcoll, Allaxdaree, Brit lata Drama« lew Tork, Thomas X* Crovell Company, 1955. Ovid, IfefcaiaogpfaesesKetamorgfeeaei,, translatetranslatedd by sr.Pfrnul e J* Killer, l©w York, C f •:L r«tims* s Sous, 1§S8 Parrott, Thaws 1, and Ball, Robert B«» A .Sliest View of Fllzabethan Broaa. He» York, C* SerXo»erve sent, 194S« Robertson, J» K«« Jt Maiaua 1* At** _tostpsart Siai i lewr York, I* F# Dotton aiid coapaiiy, lwwU Sehelllag, Pell* 8» , Elizabethan Flaywrlafots, Hit York, Harper aM Brot Iters> " 1925* SefoelliRg, Felix !•,faglltb. Dra»a » lew York, E» P» Dotton and ©CKpasy, 1914. ' 94j

~~Hubbard* P# G«, "Repetition and: Parallelism in larllar KLtMbetbiui Draiaa** Publications of the .KedUKrn !#»«»«# kmoei&ttom. • XXUlosV fSdS-SW~~