The Spanish Tragedy Totally Explained

Everything about The Spanish Tragedy totally explained

The Spanish Tragedie: or, Hieronimo is mad againe is an Elizabethan tragedy written by Thomas Kyd between 1582–92.
Highly popular and influential in its time, The Spanish Tragedy established a new genre in English theatre, the revenge play or revenge tragedy. Its plot contains several violent murders and includes as one of its characters a personification of Revenge. The Spanish Tragedy was often referenced (or parodied) in works written by other Elizabethan playwrights, including William Shakespeare, Ben Jonson, and Christopher Marlowe. Many elements of The Spanish Tragedy, such as the play-within-a-play used to trap a murderer and a ghost intent on vengeance, appear in Shakespeare's Hamlet. (Thomas Kyd is frequently proposed as the author of the hypothetical Ur-Hamlet that may have been one of Shakespeare's primary sources for Hamlet).

Date

In the Introduction to his play Bartholomew Fair (1614), Ben Jonson alludes to The Spanish Tragedy as being "five and twenty or thirty years" old. If taken literally, this would yield a date range of 1584–89 — a range that agrees with what else is known about the play. Some critics, noting that the play makes no reference to the Spanish Armada of 1588, have argued for a date of 1587 as the most likely single year; others have varied that date a year or so, either way. Philip Edwards, in his Revels edition of the play, entertains a date range of 1582–92, but favors a date c. 1590.

Performance

No details on the earliest performances of the play in the late 1580s have survived. Lord Strange's Men staged a play that the records call Jeronimo on March 14, 1592, and repeated it sixteen times to January 22, 1593; it was their big hit of the season. It is unclear whether Jeronimo was The Spanish Tragedy, or The First Part of Hieronimo (printed in 1604), the anonymous "prequel" to Kyd's play, or perhaps either on different days.
The Admiral's Men revived Kyd's original on January 7, 1597, and performed it twelve times to July 19; they staged another performance conjointly with Pembroke's Men on October 11 of the same year. The records of Philip Henslowe suggest that the play was on stage again in 1601 and 1602. English actors performed the play on tour in Germany (1601), and both German and Dutch adaptations were made.

Publication

Kyd's play was entered into the Stationers' Register on October 6, 1592, by the bookseller Abel Jeffes. The play was published in an undated quarto, almost certainly before the end of 1592; this first quarto was printed by Edward Allde — and published not by the copyright holder Jeffes, but by another bookseller, Edward White. On December 18 of that year, the Stationers Company ruled that both Jeffes and White had broken the guild's rules by printing works that belonged to the other; both men were fined 10 shillings, and the offending books were destroyed — so that Q1 of The Spanish Tragedy survives in only a single copy. Yet the Q1 title page refers to an even earlier edition; this was probably by Jeffes, and no known copy exists.
The popular play was reprinted in 1594; in an apparent compromise between the competing booksellers, the title page of Q2 credits the edition to "Abell Jeffes, to be sold by Edward White." On August 13, 1599, Jeffes transferred his copyright to William White, who issued the third edition that year. White in turn transferred the copyright to Thomas Pavier on August 14, 1600, and Pavier issued the fourth edition (printed for him by William White) in 1602. This 1602 Q4 featured five additions to the pre-existent text (see below). Q4 was reprinted in 1610, 1615 (two issues), 1618, 1623 (two issues), and 1633.

Authorship

All of the early editions are anonymous. The first indication of the author's identity appeared in Thomas Heywood's Apology for Actors (1612), where Heywood assigns the play to Kyd. The style of The Spanish Tragedy is considered such a good match with Kyd's style in his other extant play, Cornelia (1593), that scholars and critics have universally recognized Kyd's authorship.

Allusions

The Spanish Tragedy was enormously influential, and references and allusions to it abound in the literature of its era. Ben Jonson mentions "Hieronimo" in the Induction to his Cynthia's Revels (1600), and quotes from the play in Every Man in His Humour (1598), Act I, scene iv. In Satiromastix (1601), Thomas Dekker suggests that Jonson, in his early days as an actor, himself played Hieronimo.
Allusions continue for decades after the play's origin, including references in Thomas Tomkis's Albumazar (1615), Thomas May's The Heir (1620), and as late as Thomas Rawlins's The Rebellion (c. 1638).
In modern times, T. S. Eliot quoted the title and the play in his poem The Waste Land.

Dramatis Personæ

Figures in the Frame

The ghost of Don ANDREA
An embodiment of REVENGE
Spain

The Spanish KING

The Duke of CASTILE, Don Cyprian, the King's brother

Don LORENZO, the Duke of Castile's son

BEL-IMPERIA, the Duke of Castile's daughter

PEDRINGANO, Bel-imperia's servant

CHRISTOPHIL, Don Lorenzo's servant

Don Lorenzo's PAGE boy

Don HIERONIMO, Knight Marshal of Spain

His wife, ISABELLA

Don HORATIO, their son

A SERVANT to Don Hieronimo

Isabella's MAID

Don BAZULTO, an elderly man

GENERAL of the Spanish army

Three WATCHMEN

A DEPUTY

A HANGMAN

A MESSENGER

Three CITIZENS
Portugal

The Portuguese VICEROY

Prince BALTHAZAR, his son

Don PEDRO, brother to the Viceroy

ALEXANDRO and VILLUPPO, Portuguese noblemen

The Portuguese AMBASSADOR

SERBERINE, Balthazar's serving-man

Two NOBLEMEN of Portugal

Two PORTUGUESE citizens (Portingales)

Plot

Before the play begins, the Viceroy of Portugal has rebelled against Spanish rule. A battle has taken place in which the Portuguese were defeated and their leader, the Viceroy's son Balthazar, captured; but the Spanish officer Andrea has been killed by none other than the captured Balthazar. His ghost and the spirit of Revenge (present onstage throughout the entirety of the play) serve as chorus and at the beginning of each act Andrea bemoans the series of injustices that take place before being reassured by Revenge that those deserving will get their comeuppance. There is a subplot concerning the enmity of two Portuguese noblemen, one of whom attempts to convince the Viceroy that his rival has murdered the missing Balthazar.
   The King's nephew Lorenzo and Andrea's best friend Horatio dispute over who captured Balthazar, and though it's made clear early on that it's in fact Horatio that defeated him while Lorenzo essentially cheats his way into taking partial credit; the King leaves Balthazar in Lorenzo's charge and splits the spoils of the victory between the two. Horatio comforts Lorenzo's sister, Bel-Imperia, who was in love with Andrea against her family's wishes; despite her former feelings for Andrea, Bel-Imperia soon falls for Horatio. Her courtship with Horatio is motivated partially by her desire for revenge. Bel-Imperia intends to torment an amorous Balthazar, the killer of her former lover.
   As Balthazar is in love with Bel-imperia, the royal family concludes that their marriage would be an excellent way to repair the peace with Portugal. Horatio's father, the Marshall Hieronimo, stages an entertainment for the Portuguese ambassador; Lorenzo, suspecting that Bel-Imperia has found a new lover, bribes her servant Pedringano and discovers that Horatio is the man. He persuades Balthazar to help him murder Horatio during an assignation with Bel-Imperia; Hieronimo and his wife Isabella find the body of their son hanged and stabbed, and Isabella is driven mad. Revisions made to the original play supplement the scene with Hieronimo briefly losing his wits as well.
   Lorenzo locks Bel-Imperia away, but she succeeds in sending Hieronimo a letter, written in her own blood, informing him that Lorenzo and Balthazar were Horatio's murderers. His questions and attempts to see Bel-Imperia convince Lorenzo that he knows something; afraid that Balthazar's servant Serberine has betrayed the plot, Lorenzo convinces Pedringano to murder him, then arranges for Pedringano's arrest in the hopes of silencing him too. Hieronimo, appointed judge, sentences Pedringano to death; Pedringano expects Lorenzo to procure his pardon, and Lorenzo, having written a fake letter of pardon, lets him believe this right up until the hangman drops Pedringano to his death.
   Lorenzo manages to prevent Hieronimo from seeking justice by convincing the King that Horatio is alive and well. Furthermore, Lorenzo doesn't allow Hieronimo to see the King, claiming that he's too busy. This, combined with his wife's suicide, which happens just prior to Hieronimo's appeal to the King, pushes Hieronimo past his limit. He rants incoherently and digs at the ground with his dagger. Lorenzo goes on to tell his uncle, the King, that Hieronimo's odd behavior is due to his inability to deal with his son Horatio's new found wealth (Balthazar's ransom from the Portuguese Viceroy), and he's gone mad with jealousy. Regaining his senses, he and Bel-Imperia feign reconciliation with the murderers and plan to put on a play together, Soliman and Perseda. Under cover of the play they stab Lorenzo and Balthazar to death in front of the King, Viceroy, and Duke of Castile (Lorenzo and Bel-Imperia's father); Bel-Imperia kills herself, and Hieronimo tells his audience of his motive behind the murders, but refuses to reveal Bel-Imperia's complicity in the plot. He then bites out his own tongue to prevent himself from talking under torture, after which he kills the Duke and then himself. Andrea and Revenge are satisfied, delivering suitable eternal punishments to the guilty parties.

The 1602 additions

As noted above, the White/Pavier Q4 of 1602 added five passages, totaling 320 lines, to the existing text of the prior three quartos. The most substantial of these five is an entire scene, usually called the painter scene since it's dominated by Hieronimo's conversation with a painter; it's often designated III,xiia, falling as it does between scenes III,xii and III,xiii of the original text.
Henslowe's Diary records two payments to Ben Jonson, dated September 25, 1601 and June 22, 1602, for additions to The Spanish Tragedy. Yet most scholars reject the view that Jonson is the author of the 1602 additions. The literary style of the additions is judged to be un-Jonsonian; Henslowe paid Jonson several pounds for his additions, which has seemed an excessive sum for 320 lines. And John Marston appears to parody the painter scene in his 1599 play Antonio and Mellida, indicating that the scene must have been in existence and known to audiences by that time. The five additions in the 1602 text may have been made for the 1597 revival by the Admiral's Men. Scholars have proposed various identities for the author of the revisions, including Dekker, John Webster, and Shakespeare — "Shakespeare has perhaps been the favorite in the continuing search...."
(It can seem surprising to find Shakespeare, house playwright for the Lord Chamberlain's Men, as a putative reviser of a play associated with their rival company the Admiral's Men. Yet Sir Thomas More provides a precedent of Shakespeare working as a reviser in a surprising context..)

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