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    The Spanish Tragedy

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    The Spanish Tragedy by Thomas Kyd is a founder play of the tragedy during the Elizabethan period since it raises important issues of this time, such as the cruel and unfair death, revenge, social status as well as allegiance to the sovereign. These topics reached the population and it is probably due to this that The Spanish Tragedy was successful at the time. This paper will focus its analysis on the scene 2 of the first act, which is a short but meaningful passage of the play. This passage, which

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    All great tragedies involve to varying degrees the psychological downfall of the protagonist. To explicate this point it is a simple matter to draw upon two tragedies that have remained famous through the ages. They are ‘The Spanish Tragedy’ by Thomas Kyd and the filmic adaption of Shakespeare’s tragedy ‘Macbeth’ by Roman Pollanski. They demonstrate the point through literary techniques like foreshadowing, soliloquies etc. and through in the case of Macbeth through the additional visual techniques

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    contribution to English literature contribution to English literature is undeniable. He was one of the prominent figures of drama during the Elizabethan era and wrote many works. However, his most important work is The Spanish Tragedy which undoubtedly laid the groundwork for subsequent revenge tragedies. The play’s main plot counts the story of a man who, after having his son killed, decides to take revenge on his son’s murderers and kills them. Some scholars accuse Hieronimo of betraying the Elizabethan belief

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    Hieronimo is a symbol for the authority of law within The Spanish Tragedy. From his soliloquy in act III scene II, one can see Hieronimo’s ambiguity in deciding whether to pursue either justice or revenge. It could be argued that Hieronimo’s actions and concerns change throughout the course of the play by the wills of others and not his own desires; thus representing the failed authority of the law. This can be shown by analysing Hieronimo, Bel-imperia, the Gods, Lorenzo and the Law. Hieronimo’s

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    play, and The Spanish Tragedy by Thomas Kyd exemplifies those indications perfectly. The idea of revenge tragedies originated in ancient Greece, and they “dramatize the predicament of a wronged hero” which is not only what happens in The Spanish Tragedy, but also in Hamlet by William Shakespeare. Some critics may argue that only The Spanish Tragedy considered a “revenge tragedy”, but certain events in both tragedies constitute what makes a revenge play, especially The Spanish Tragedy. Although each

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    Doubling in Kyd's The Spanish Tragedy

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    Doubling in Kyd's The Spanish Tragedy The World's Classics version of Kyd's the Spanish Tragedy has more than fifty-three roles*. This number can go much higher depending on the exact number of plural parts the director decided to allot. In other words, the script may read simply "nobles," or "attendants" and the reader can not be completely sure of the number of people referred to. If the performing company was limited in players, there may be only two "knights" but if the director had a large

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    Revenge in Thomas Kyd's The Spanish Tragedy Thomas Kyd's The Spanish Tragedy (c. 1587) is generally considered the first of the English Renaissance "revenge-plays." A rich genre that includes, among others, Hamlet. These plays tend to be soaked in blood and steeped in madness. The genre is not original to the period, deriving from a revival of interest in the revenge tragedies of the Roman playwright Seneca. Nor is it exclusive to the past, as anyone who has seen the "Death Wish" or "Lethal Weapon"

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    Characteristics of a Machiavel in The Spanish Tragedy and Hamlet To understand a renaissance machiavel as portrayed in The Spanish Tragedy and Hamlet, it is necessary to find characters from both works that exhibit the characteristics of a machiavel (Plotting, secrecy and eventually murder). This is the difficult part, as most of the major characters in both plays exhibit some, if not all of these characteristics - while neither Heironimo nor Hamlet are villains, they both rely upon machiavellian

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    Heroes and Revenge in Hamlet and The Spanish Tragedy In Elizabethan drama, it was accepted that the villains of the piece would, because of their evil methods and aims, be revealed and punished - in other words, justice would be served. The problem, however, arises when the "heroes" of the piece use the same methods as the villains. I use the term hero warily, as the traditional hero of a revenge tragedy is one who would at first seem completely unsuited to a revenging role; Heironimo is portrayed

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    Kyd’s The Spanish Tragedy - The Humanist Chronotope In "Forms of Time and of the Chronotope in the Novel," Mikhail Bakhtin defines the chronotope as "the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature" (84). That is what the chronotope is; Bakhtin continues with what the chrontope does: "It can even be said that it is precisely the chronotope that defines genre and generic distinctions" (85). In The Spanish Tragedy, Kyd layers three

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