The Spanish Tragedy

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entertainment during this era included watching a play. Therefore, both the audience and the characters mire in its spectacle and entertainment value. Scholars believe that Kyd's uses this inner play to manipulate the boundaries of what can appear within tragedy at the time. This allows him to criticize both the legitimate and imaginary structures of the society that he had interpreted and created. As the audience of Hieronimo's play is the royal houses of Spain and Portugal, Kyd invites his own audience to question the purpose of the realistic violence and what the role of pleasure is in observing its spectacle. Thus, pleasure is derived from watching the audience of the play and the violence of play itself.

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Horatio is hanged, Pedringano is hanged, Alexandro is nearly burnt at the stake, and Villuppo is assumed tortured and hanged. Kyd consistently refers to mutilation, torture, and death, beginning early in the play when the ghost of Don Andrea describes his stay in the underworld: "And murderers groan with never killing wounds, / And perjured wights scalded in boiling lead, / And all foul sins with torments overwhelmed" (I.i.68–70). He vividly describes in these lines as well as others the frequency of murder and torture in the underworld. Murder and death make up the tragedy theme that holds true through the last scene of the play.

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the question many scholars face is whether the responsibility and fault of Hieronimo's desire for revenge belongs solely to him. In one theory, Steven Justice proposes that the fault lies not in Hieronimo, but rather in the society at the time. It is argued that Kyd used the revenge tragedy to give body to popular images of Catholic Spain. Kyd tries to make Spain the villain in that he shows how the Spanish court gives Hieronimo no acceptable choice. The court turns Hieronimo to revenge in pursuit of justice, when in reality it is quite different.

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entirety of the play and serve as chorus. At the end of each act, Andrea bemoans the series of injustices that have taken place and then Revenge reassures him that those deserving will get their comeuppance. The Ghost of Andrea and Revenge open the play in Act 1 and close the play in Act 5 with descriptions of the Classical underworld. There is also 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.

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notes that this biting off of the tongue has been interpreted as "a rejection of the fatuities of language, a radical gesture demonstrating Hieronimo's sense of 'inwardness,' or an indictment of the Spanish Court." However, while this torture is threatened by the Spanish King, it also mirrors time period in which it is believe Kyd authored the play within England, as torture was increasingly used by the privy council. The growing presence of Jesuit missionaries within England, as a result of the

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revenge story that it is. Kyd incorporates the buildup to the revenge as a way to show the internal and external struggles of the characters. The actual revenge takes place during the play that Hieronimo stages, making this the climax of the play. The resolution is the explanation to the king of what has happened. The play within the play is not described until the actual play is performed, intensifying the climax, and the resolution is short due to the explanations that have already occurred.

710:, 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.) 726:

revenge by actually killing the murderers. Bel-imperia chooses to stab herself during the play too, although this was not Hieronimo's intention for her. Hieronimo tells everyone of the motive behind the murders, bites out his own tongue to prevent himself from talking under torture, and kills the Duke of Castille and then himself. Andrea and Revenge are satisfied, and promise to deliver suitable eternal punishments to the guilty parties.

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incoherently and digs at the ground with his dagger. Lorenzo goes on to tell his uncle, the King, that Hieronimo's odd behaviour is due to his inability to deal with his son Horatio's newfound wealth (Balthazar's ransom from the Portuguese Viceroy), and he has gone mad with jealousy. Regaining his senses, Hieronimo, along with Bel-imperia, feigns reconciliation with the murderers, and asks them to join him in putting on a play,

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Serberine has revealed the truth, Lorenzo convinces Pedringano to murder Serberine, 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.

1085:'s graphic description of death and propensity to end his characters through execution. In this writing, scholars believe that Kyd was appealing to the likes and familiarities of his attending audience. Within the play, Horatio, Pedringano, and Villuppo are all hung. Their hangings and the additional murders and violence are described graphically throughout. 1081:- the theater of 6160 hangings over this time. The site included a variety of viewing options including seats, boxes, rooms, houses, and standing room sections. This made them accessible to the upper and lower classes alike. Thus, executions became a performance, not unlike what one could find in a legitimate theater. This contextualizes 1037:, Hieronimo himself has the title of Knight Marshal, a position which contemporary viewers would have associated with torture and martial law. Hieronimo also describes a need for summary justice (justice enacted without typical due process of the law) in his revenge plot, despite his own position as a judge. 702:, who was in love with Andrea against her family's wishes. Despite her former feelings for Andrea, Bel-imperia soon falls for Horatio. She confesses that her love for Horatio is motivated partially by her desire for revenge: Bel-imperia intends to torment Balthazar, who killed her former lover Andrea. 1106:

The structure in essence is a "play within a play". The play begins with a background of why Hieronimo wants to seek revenge. He is seen as a minor character and eventually becomes the protagonist to add to the revenge plot. When he becomes the main character, the plot begins to unfold and become the

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Torture also comes up within the play, most notably at the end of Act IV, when the King of Spain threatens to torture Hieronimo after he reveals that the murders in the play were real. Hieronimo's response, biting off his own tongue, has been interpreted in a multitude of ways. Scholar Timothy Turner

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rebelled against Spanish rule. A battle took place in which the Portuguese were defeated and their leader, the Viceroy's son Balthazar, killed the Spanish officer Andrea before being taken captive by the Spanish. Andrea's ghost and the personification Revenge itself are present onstage throughout the

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At the centerpiece of this spectacle is Horatio's hanging. Hieronimo continuously returns to it, not only as he attempts to gain his revenge, but to appease the voyeuristic needs of the audience as a result of Kyd's recognition of their enjoyment of mutilation and public violence. In the violence of

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In addition to that, Hieronimo and his family are labeled as a "middling sort" by many scholars. Essentially the 'middle class,' Kyd establishes a situation in which conflict between Hieronimo's household and the nobility is inevitable as the middle class is seen as a threat, one that is pressing up

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The morality of revenge has been a source of discourse for years, and as revenge is one of the key themes of the play, a lot of debate has been made over it in the context of the Spanish Tragedy specifically. Hieronimo's pursuit for revenge and subsequent scheme is open to moral-based judgement, but

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The White/Pavier Q4 of 1602 added five passages, totalling 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 is dominated by Hieronimo's conversation with a painter; it is often designated III,

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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. Hieronimo's questions and attempts to see Bel-imperia convince Lorenzo that he knows something. Afraid that Balthazar's servant

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The King's nephew Lorenzo and Andrea's best friend Horatio dispute over who captured Balthazar. Though it is made clear early on that Horatio defeated Balthazar and Lorenzo has essentially cheated his way into taking partial credit, the King leaves Balthazar in Lorenzo's charge and splits the spoils

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and Balthazar witness. In this stabbing, Bel-Imperia's immediate response confirms her shared viewership of the event, and highlights Kyd's use of the public viewership to create spectacle. In Kyd's graphic descriptions, the notion of spectacle is present everywhere, as even in the plays themselves

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Willbern describes that there is a sort of Oedipal reversal within the play. Both Hieronimo and the Viceroy deal with the deaths of their respective sons, Horatio and Balthazar, respectively. Earlier in the play, when Alexendro lies about the death of Balthazar, the Viceroy has no reason to believe

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Another theme is social mobility as characters such as Lorenzo and Pedringano are driven by their ambition and desire for more power. Pedringano especially so as he is a servant, belonging in the lowest rank of the hierarchy. His efforts to curry favor (and go beyond his 'place') with Lorenzo leads

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provides a precedent of Shakespeare working as a reviser in a surprising context. It is also quite possible that the play remained, in different versions, in the repertoire of more than one company, and that the Jonson additions for Henslowe refer to the adaptation of one script while the additions

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Revenge bookends the entire play. The embodied Revenge promises Don Andrea that his killer, Balthazar, will be killed, which is not resolved until the end of the play. The play almost seems to acknowledge the slow burn of Andrea's revenge, as the embodied Revenge falls asleep before the end of the

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Lorenzo manages to prevent Hieronimo from seeking justice by convincing the King that Horatio is alive and well. Furthermore, Lorenzo does not allow Hieronimo to see the King, claiming that he is too busy. This, combined with his wife Isabella's suicide, pushes Hieronimo past his limit. He rants

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Interestingly, despite intense anti-Spain sentiment in England, Kyd's play does not portray Spain as a society particularly bereft of morals or laws. This is exemplified by the Spanish King's treatment of Balthazar as his prisoner: "yet free from bearing any servile yoke, for in our hearing they

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Bel-Imperia and Horatio, moments before the latter's murder, make-love, and exchange coy lines rife with war imagery, though scholar David Willbern notes it is unknown whether the act is actually consummated, as Lorenzo and Balthazar rush in and murder Horatio. He notes that violence is used to

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Similarly, within the Portuguese subplot of the play (with the Viceroy, Alexandro and Villuppo), martial law and summary justice appear. Villuppo, in an attempt to climb ranks, accuses Alexandro of murdering the Viceroy's son, Balthazar in battle. Without trials or witnesses, the Viceroy orders

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Torture is threatened within the play multiple times. When attempting to discern the identity of Bel-Imperia's lover, Lorenzo threatens her servant Pedringano: "and fear shall force what friendship cannot win," and once Lorenzo learns it is Horatio, he remarks "where words prevail not, violence

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The nature of murder and death, performed and as natural phenomena, is also questioned. Smith considers how the decade in which the play is set, is relevant to its mentionings of hangings, murders, and near deaths throughout. Multiple characters are killed or nearly killed throughout the play.

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When the play is performed, Hieronimo uses real daggers instead of prop daggers, so that Lorenzo and Balthazar are stabbed to death in front of the King, Viceroy, and Duke (Lorenzo and Bel-imperia's father). He cast the play in such a way that both himself and Bel-imperia could exact their own

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as being "five and twenty or thirty years" old. If taken literally, this would yield a date range of 1584–1589, a range that agrees with what else is known about the play. The exact date of composition is unknown, though it is speculated that it was written sometime between 1583 and 1591. Most

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resembles a Senecan Tragedy. The separation of acts, the emphasized bloody climax, and the revenge itself, make this play resemble some of the most famous ancient plays. Kyd does acknowledge his relations to Senecan Tragedies by using Latin directly in the play but also causes Christianity to

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Similarly, in Hieronimo's play, voyeuristic pleasure is derived from the audience as they watch the characters watch the play. Thus, the second spectacle comes from the theater itself and the position of Heronimo's play within the play of The Spanish Tragedy. One of the most common forms of

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Some critics claim that Hieronimo's attitude is what central Christian tradition calls the Old Law, the Biblical notion of an "eye for an eye". Hieronimo's passion for justice in society is revealed when he says, "For blood with blood shall, while I sit as judge, / Be satisfied, and the law

940:, 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, 2496: 1057:. The King of Spain arranges Balthazar and Bel-Imperia to be married in order to strengthen the unification of Spain and Portugal. Balthazar falls deeply in love with Bel-Imperia, and once he and Lorenzo discover that she is in love with Horatio, the two murder him. 861:

chronologically, although it was published more than a decade later. Due to the author’s anonymity, there is debate between scholars about whether this was a companion piece also written by Kyd or another writer’s attempt to contribute to the story themselves.

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tradition. The play is ostensibly Senecan with its bloody tragedy, rhetoric of the horrible, the character of the Ghost and typical revenge themes. The characters of the Ghost of Andrea and Revenge form a chorus similar to that of Tantalus and Fury in Seneca's

930:. 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 482:

theorised that some awkward wordings in the "Additional Passages" of the 1602 fourth edition resulted from printers' errors in setting type from the (now lost) original manuscript. Furthermore, after examining the "Hand D" manuscript (widely accepted as in

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Additionally, Don Andrea himself subverts the Senecan tradition. Andrea lacks the history of family violence which Tantalus has in Thyestes. Their introductions are also different, with Andrea being notably excited and curious to watch revenge play out.

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on 14 August 1600 and Pavier issued the fourth edition (printed for him by William White) in 1602. This 1602 Q4 contains five additions to the preexisting text. Q4 was reprinted in 1610, 1615 (two issues), 1618, 1623 (two issues), and 1633.

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his hanging and that which follows throughout the rest of the play, the audience gains voyeuristic pleasure watching the characters witness it and watching it with them. This phenomenon can be specifically observed in the stabbing which

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on 11 October 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.

493:, Bruster argued that the speculated printers' errors resulted from reading a manuscript written by someone with Shakespeare's "messy" handwriting, thus bolstering the likelihood that Shakespeare wrote the Additional Passages. 705:

Meanwhile, Balthazar is falling in love with Bel-imperia. The Spanish king decides that a marriage between Balthazar and Bel-imperia would be an excellent way to repair the peace with Portugal. Horatio's father, the Marshal

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credits the edition to "Abell Jeffes, to be sold by Edward White". On 13 August 1599, Jeffes transferred his copyright to William White, who issued the third edition that year. White in turn transferred the copyright to

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where the Ghost leaves after the prologue. Also, the Ghost is not a functioning prologue as he does not give the audience information about the major action on stage nor its conclusion. The Ghost is similar to those in

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Alexendro imprisoned, and to be executed if Balthazar is found dead. Once Villuppo duplicity is revealed, the Viceroy orders the painful execution of Villuppo, yet again circumventing due process of the law.

1256: 674:, which was carried out as Phillip II ascended to the throne in Portugal. The battle in which Balthazar is captured before the play starts is one which occurred in the fallout of the annexation. 424:

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

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medieval plays who return from the dead to talk about their downfall and offer commentary on the action. Revenge is akin to a medieval character that acts as a guide for those on a journey.

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While the setting of the play is a result of a notable political conflict, strangely, it does not contribute to the violence and revenge that actually takes place directly within the play.

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Broadview Edition (Peterborough, Ontario: Broadview Press, 2016). ISBN 978-1-55481-205-9. Edited by Patrick McHenry. Includes introduction and supplementary historical documents.

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prevails" (II.i.68 and 107-108). Turner proposes by connecting torture to the acquisition of information, Kyd draws further comparisons to contemporary England.

1280: 421: 857:. In the play spans from Don Andrea's departure to Portugal to his untimely murder. Only parts of the text have been preserved. The play takes place before 3621: 1638: 4885: 4249: 269:, Cambridge. In October/November 2013, the Baron's Men of Austin, TX performed the work in a near-uncut state, with period costumes and effects, at 1383: 1361: 4408: 1006:

on the aristocrats. This is evident in scenes such as the resulting competition from the 'middling sort' Horatio and Lorenzo, the King's nephew.

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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.

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The play also subverts typically Senecan qualities such as the use of a ghost character. For Kyd, the Ghost is part of the chorus, unlike in

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Curtain Theater, a mini replica of the Globe Theater. Another amateur production was presented by the Experimental Theater Board of

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revived Kyd's original on 7 January 1597, and performed it twelve times to 19 July; they staged another performance conjointly with

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The play has never been filmed or staged on television; however, the play has been produced a number of times on radio by the BBC:

5253: 4835: 4663: 4516: 3920: 3567: 3027: 5090: 4945: 4850: 4789: 4719: 4704: 4648: 753:. The Ghost describes his journey into the underworld and calls for punishment at the end of the play that has influences from 4804: 4769: 4683: 4653: 4537: 4526: 4097: 3951: 3495: 2973: 2298: 1759: 1160: 284:

in London in October–November 2009, directed by Mitchell Moreno, with Dominic Rowan as Hieronimo, as well as a production in

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J. R. Mulryne, ‘Kyd, Thomas (bap. 1558, d. 1594)’, Oxford Dictionary of National Biography, Oxford University Press, 2004

1119:. It is said that this play was the initiator of the style for many "Elizabethan revenge tragedies, most notably Hamlet". 958:

in the 1602 Quarto represent those to another version, not for Henslowe but for the Chamberlain's Men. It is notable that

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The popular play was reprinted in 1594. In an apparent compromise between the competing booksellers, the title page of

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Crosbie, Christopher (January 2008). "Oeconomia and the Vegetative Soul: Rethinking Revenge in The Spanish Tragedy".

1702: 1271: 1185: 783:, in his monologue in Act 3, scene 13. The character of the Old Man, Senex, is seen as a direct reference to Seneca. 257:. Another amateur production was presented by the Hyperion Shakespeare Company 21–30 October 2010 with students from 215: 5045: 2641: 450: 449:

All of the early editions are anonymous. The first indication that the author of the play was Kyd was in 1773 when

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in Harvard's New College Theatre. In November 2012, Perchance Theatre in association with Cambridge University's

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Henslowe's diary records two payments to Ben Jonson, dated 25 September 1601 and 22 June 1602, for additions to

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from 1588–1589. Due to this evidence, the year 1587 remains the most likely year for completion of the play.

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conflict with pagan ideals. We also see Kyd's use of Seneca through his referencing three Senecan plays in

508: 484: 1077:, during which it was a common cultural practice to attend public hangings or executions at sites such as 667:

in 1588. Scholars believe the play was written before 1588, due to the lack of any mention of the armada.

5050: 4819: 4548: 3464: 4583: 2483: 1475: 1375: 5299: 5065: 4915: 4079: 3780: 3035: 1748:""Now Shall I See The Fall Of Babylon": The Image Of Spain In The Early Modern English Revenge Tragedy" 1353: 5307: 4729: 4337: 4039: 3981: 3666: 3373: 1419: 948: 207: 1790:

Baker, Howard (August 1935). "Ghosts and Guides: Kyd's 'Spanish Tragedy' and the Medieval Tragedy".

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provide the relief of the sexual tension built up in the scene, replacing sexual, physical contact.

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was enormously influential, and references and allusions to it abound in the literature of its era.

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evidence points to a completion date before 1588, noting that the play makes no reference to the

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Smith, Molly (1992). "The Theater and the Scaffold: Death as Spectacle in The Spanish Tragedy".

5464: 5449: 5120: 5115: 4940: 4779: 4699: 4346: 3930: 3880: 1541: 1515: 1489: 953: 488: 417: 192: 184: 160:(printed in 1604), the anonymous "prequel" to Kyd's play, or perhaps either on different days. 4745: 4619: 4472: 3223: 1301: 5396: 5352: 4563: 4147: 3434: 3414: 3323: 3018: 3007: 2930: 2867: 2066: 951:, as a putative reviser of a play associated with their rival company the Admiral's Men. Yet 254: 133: 5221: 3186: 2507: 5444: 5362: 5130: 4990: 4975: 4920: 4865: 4774: 4694: 3761: 3404: 3273: 2664: 2634: 2448:

Kay, Carol McGinnis (1977). "Deception through Words: A Reading of 'The Spanish Tragedy'".

839: 821: 4310: 944:, and Shakespeare—"Shakespeare has perhaps been the favorite in the continuing search..." 8: 5268: 5085: 5070: 5025: 4950: 4910: 4880: 4799: 4754: 4734: 4714: 4628: 4481: 4417: 4137: 3394: 3363: 3000: 2769: 2650: 1023: 936: 931: 816: 762: 690: 302: 231: 85: 75: 4603: 4230: 2619: 1002:

to his resulting downfall as he is barred from social mobility, a mere tool in the end.

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Mulryne, J. R. (2004). "Kyd, Thomas (bap. 1558, d. 1594), playwright and translator".

820:(1600), has a character disguise himself in "Hieronimo's old cloak, ruff, and hat" in 5357: 5315: 5125: 5000: 4960: 4759: 4633: 4573: 4364: 4219: 4186: 3770: 3505: 3313: 2881: 2687: 2393: 2378: 2294: 2271: 2217: 2181: 2145: 2137: 2012: 1946: 1886: 1811: 1755: 1698: 1181: 1156: 923:

xiia, falling as it does between scenes III, xii and III, xiii of the original text.

749: 250: 200: 188: 168: 1905: 1592: 84:, and was parodied by many Elizabethan and Jacobean playwrights, including Marlowe, 74:

is often considered to be the first mature Elizabethan drama, a claim disputed with

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The Spanish Tragedy was penned and first performed at the relative height of the

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used to trap a murderer and a ghost intent on vengeance, appear in Shakespeare's

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Allusions continue for decades after the play's origin, including references in

475:(1593), that scholars and critics have universally recognised Kyd's authorship. 286: 280:

Other professional performances include a modern-dress production staged at the

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suggests that Jonson, in his early days as an actor, himself played Hieronimo.

792: 664: 554: 458: 378: 306: 281: 235: 2315: 962:, the Chamberlain's lead actor, was a celebrated player of Hieronimo's part.) 416:—and published not by the copyright holder Jeffes, but by another bookseller, 238:

as the King of Spain. The production later transferred to The Pit at London's

5428: 5367: 5015: 4875: 4416: 4355: 3971: 3790: 3713: 3485: 3424: 3343: 3333: 3283: 3233: 2680: 2673: 2275: 2221: 2185: 2016: 1950: 1890: 866: 453:, the editor of a three-volume play-collection, cited a brief quotation from 437: 432: 332: 1567: 5020: 4965: 4558: 4070: 3263: 941: 834: 678:

deserts were great, and in our sight thyself art gracious" (I.ii.148-150).

663:, it is currently unknown whether the play was written before or after the 469:

is considered such a good match with Kyd's style in his other extant play,

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Broude, Ronald (1971). "Time, Truth, and Right in 'The Spanish Tragedy'".

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rhetoric is also Senecan, with characters playing upon their names, as

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Beyond "The Spanish tragedy" : a study of the works of Thomas Kyd

1593:"The Holloway Pages: Ben Jonson: Works (1692 Folio): Bartholomew Fair" 1445: 947:(It can seem surprising to find Shakespeare, house playwright for the 4673: 4302: 3639: 2915: 2607: 2568: 2293:. Renaissance dramatists. London: Penguin Books. pp. IV.V.1–12. 1838:

McMillin, Scott (1974). "The Book of Seneca in The Spanish Tragedy".

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of the victory between the two. Horatio comforts Lorenzo's sister,

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between 1582 and 1592. Highly popular and influential in its time,

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The Cambridge companion to Shakespeare and contemporary dramatists

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or revenge tragedy. The play contains several violent murders and

21: 4295: 2715: 67: 44: 1697:. Manchester, U.K.: Manchester University Press. pp. 7, 8. 1467: 3752: 2898: 2750: 2655: 2595: 2005:

Mosaic: A Journal for the Interdisciplinary Study of Literature

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the characters note their enjoyment in watching this violence.

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does repeatedly. Hieronimo also references the Senecan plays,

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This production marked the 400th anniversary of Kyd's death.

116:

that may have been one of Shakespeare's primary sources for

1980:, line 431: "Why then Ile fit you. Hieronymo's mad againe." 465:(1612), which Heywood attributes to "M. Kid". The style of 2649: 1140:. London, J.M. Dent and co. – via Internet Archive. 294:

in Minneapolis in March 2010, directed by Carin Bratlie.

2206:"Thomas Kyd's "The Spanish Tragedy": Inverted Vengeance" 638:

Erasto ("Erastus"), Knight of Rhodes (played by Lorenzo)

1420:"Theatre review: The Spanish Tragedy at Arcola Theatre" 3831:

A Performance of Hamlet in the Village of Mrduša Donja

2170:"Torture and Summary Justice in "The Spanish Tragedy"" 1065:

him over Villuppo, yet chooses to believe the former.

2346:

The Cambridge Introduction to Shakespeare's Tragedies

934:

appears to parody the painter scene in his 1599 play

3622:

The Complete Works of William Shakespeare (Abridged)

1683:, pp. 45, 65. F. Shoberl, Jr. Retrieved 4 May 2014. 659:Due to many unknowns surrounding the authorship of 381:, and because of possible allusions to the play in 2316:"The Structure and Meaning of The Spanish Tragedy" 1270: 1013:as the philosophy Kyd is adhering to in the play. 4250:Polish Hamlet. Portrait of Aleksander Wielopolski 2488:Shorter version of the play for a modern audience 1490:"BBC Third Programme: The Spanish Tragedy (1953)" 335:as Hieronimo, Kristin Milward as Bel-Imperia and 5426: 1828:. J.R. Mulryne, ed. London: A&C Black, 1989. 1332:"The Spanish Tragedy – Professional Productions" 1314:"The Spanish Tragedy – Professional Productions" 526:Don Cyprian, Duke of Castile, the King's brother 408:, almost certainly before the end of 1592; this 1903: 1249:"National Theatre 1982 – Rehearsal Photographs" 635:Soliman, Sultan of Turkey (played by Balthazar) 5404:The Tragical History of King Richard the Third 4547:Edmund Mortimer, Earl of March (conflation of 1136:Kyd, Thomas; Schick, Josef (20 October 1898). 1016: 4402: 2635: 2523: 2037:Justice, Steven (1985). "Spain, Tragedy, and 1542:"BBC Sunday Play: The Spanish Tragedy (1994)" 1231:"The Spanish Tragedy – National Theatre 1982" 814:mentions "Hieronimo" in the Induction to his 353:as Bel-Imperia and Sandy Grierson as Lorenzo. 328:as Bel-Imperia and Anthony Jacobs as Lorenzo. 249:was performed 2–6 June 2009 by students from 2086:SEL: Studies in English Literature 1500–1900 2043:SEL: Studies in English Literature 1500–1900 1840:SEL: Studies in English Literature 1500–1900 1642:(online ed.). Oxford University Press. 1568:"BBC Drama on 3: The Spanish Tragedy (2023)" 670:The play is set against the backdrop of the 1752:Theatre Cultures within Globalising Empires 1175: 849:was anonymously published in 1605 entitled 613:Alexandro and Villuppo, Portuguese noblemen 4409: 4395: 3254:The Angel of Vengeance – The Female Hamlet 2642: 2628: 2530: 2516: 2032: 2030: 2028: 2026: 1717: 1216: 1214: 1180:. Cambridge University Press. p. 29. 898:quoted the title and the play in his poem 656:primarily takes place primarily in Spain. 3667:To Be or Not to Be: That is the Adventure 2340: 2338: 1516:"BBC Radio 3: The Spanish Tragedy (1969)" 1404:. Student Activities – Carleton College. 1135: 2819:The lady doth protest too much, methinks 2392:(Oxford: Oxford University Press, 1998) 2288: 2256:Studies in English Literature, 1500-1900 2203: 2174:Studies in English Literature, 1500-1900 1837: 1785: 1783: 1781: 1779: 1777: 1053:Sex and marriage play a central role in 20: 3921:Rosencrantz and Guildenstern Are Undead 3851:Rosencrantz & Guildenstern Are Dead 2123: 2036: 2023: 2001:"Beyond Revenge: "The Spanish Tragedy"" 1718:Schuessler, Jennifer (12 August 2013). 1639:Oxford Dictionary of National Biography 1635: 1342:from the original on 13 September 2016. 1211: 404:. The play was published in an undated 5427: 5232:The Life and Death of King Richard III 2426: 2335: 2199: 2197: 2195: 2167: 2163: 2161: 2159: 2157: 2155: 1745: 1741: 1739: 1737: 1730:from the original on 20 December 2016. 1153:The Spanish Tragedy: A Critical Reader 195:in the role of Hieronimo, directed by 175: 4820:Edmund Beaufort, 4th Duke of Somerset 4684:Edmund Beaufort, 2nd Duke of Somerset 4527:Edmund Beaufort, 2nd Duke of Somerset 4390: 4098:Terrance and Phillip: Behind the Blow 3952:Rosencrantz and Guildenstern Are Dead 2623: 2511: 2307: 2249: 2245: 2243: 2241: 2239: 2237: 2235: 2233: 2231: 2119: 2117: 2115: 2083: 1928: 1926: 1789: 1774: 1478:from the original on 3 February 2009. 1442:"The Spanish Tragedy: Arcola Theatre" 1386:from the original on 24 October 2010. 1201: 1199: 1197: 625:Two Portuguese citizens (Portingales) 265:staged a site-specific production in 128: 4816:Henry Beaufort, 3rd Duke of Somerset 1998: 1932: 1872: 1692: 1680:An Apology for Actors in Three Books 1619:"Benjamin Jonson – Bartholomew Fair" 1616: 1150: 965: 826:(1610), and quotes from the play in 400:on 6 October 1592 by the bookseller 345:12 November 2023, BBC Radio 3, with 136:staged a play that the records call 4680:John Beaufort, 1st Duke of Somerset 4523:John Beaufort, 1st Duke of Somerset 2447: 2348:. Cambridge University Press, 2007. 2322:from the original on 3 January 2010 2192: 2152: 1734: 1048: 987: 331:6 November 1994, BBC Radio 3, with 13: 4553:Edmund Mortimer, 5th Earl of March 2420: 2228: 2112: 1923: 1430:from the original on 10 June 2011. 1259:from the original on 4 March 2016. 1194: 996: 619:Serberine, Balthazar's serving-man 544:Christophil, Don Lorenzo's servant 14: 5476: 3705:My Robin is to the greenwood gone 2469: 2388:Maus, Katharine Eisaman, editor, 2313: 2289:Kyd, Thomas; Smith, Emma (1998). 1408:from the original on 28 May 2015. 1364:from the original on 27 May 2011. 1283:from the original on 18 June 2022 917: 672:unification of Spain and Portugal 541:Pedringano, Bel-imperia's servant 5091:Ghost of Edward, Prince of Wales 4814:Duke of Somerset (conflation of 4678:Duke of Somerset (conflation of 4521:Duke of Somerset (conflation of 2491: 2138:10.1111/j.1475-6757.2008.00115.x 1754:, De Gruyter, pp. 135–149, 610:Don Pedro, the Viceroy's brother 538:, the Duke of Castile's daughter 420:. On 18 December that year, the 396:Kyd's play was entered into the 320:2 March 1969, BBC Radio 3, with 5331:The True Tragedy of Richard III 2355: 2282: 2077: 1992: 1983: 1966: 1957: 1904:, Thomas Kyd (1 January 1605), 1897: 1866: 1831: 1818: 1711: 1686: 1677:Heywood, Thomas (1841 report). 1671: 1662: 1629: 1610: 1585: 1560: 1534: 1508: 1482: 1460: 1434: 1412: 1390: 1368: 1346: 1324: 1306: 644:Perseda (played by Bel-imperia) 362:In the "Induction" to his play 4169:Asterix and the Great Crossing 2994:Cultural references to Ophelia 1746:Haekel, Ralf (6 August 2018), 1382:. Arts – The Harvard Crimson. 1295: 1263: 1241: 1223: 1220:Chambers, Vol. 3, pp. 395–397. 1176:Hoenselaars, Ton, ed. (2012). 1169: 1144: 1129: 357: 123: 25:Title page of the 1615 edition 1: 4991:Henry Tudor, Earl of Richmond 4420:'s first historical tetralogy 3861:Highlander II: The Quickening 2790:What a piece of work is a man 2410:The Revenge of Bussy D'Ambois 1138:"The Spanish tragedy, a play" 1122: 729: 496: 444: 5412:David Garrick as Richard III 4639:Humphrey, Duke of Gloucester 4487:Humphrey, Duke of Gloucester 3676:Tales from the Public Domain 3631:Rosencrantz and Guildenstern 2730:Rosencrantz and Guildenstern 2126:English Literary Renaissance 1939:English Literary Renaissance 1906:"The First Part of Jeronimo" 1879:English Literary Renaissance 1656:UK public library membership 1424:www.britishtheatreguide.info 1101: 1068: 984:discharg'd" (III.vi.35–36). 832:(1598), Act I, scene iv. In 802: 689:Before the play begins, the 641:Bashaw (played by Hieronimo) 387:Preface to Greene's Menaphon 7: 4986:Lord Stanley, Earl of Derby 4780:Richard, Duke of Gloucester 3465:The Story of Edgar Sawtelle 2501:public domain audiobook at 2377:(London: Bloomsbury, 2013) 2204:Willbern, David P. (1971). 2168:Turner, Timothy A. (2013). 1623:University of North Georgia 1017:Torture and Summary Justice 904:. The play also appears in 855:The First Part of Hieronimo 575:General of the Spanish army 572:Don Bazulto, an elderly man 532:, the Duke of Castile's son 158:The First Part of Hieronimo 10: 5481: 5390:Let's kill all the lawyers 5300:The Mirror for Magistrates 5179:BBC Television Shakespeare 4916:Second Battle of St Albans 4080:The Conscience of the King 1963:Edwards, pp. lxvii–lxviii. 970: 722:, to entertain the court. 648: 566:A servant to Don Hieronimo 183:was performed at London's 5435:English Renaissance plays 5381: 5345: 5291: 5219: 5155: 5148: 4929: 4743: 4730:First Battle of St Albans 4617: 4470: 4461: 4425: 4338:The Hobart Shakespeareans 4269: 4201: 4159: 4118: 4061: 4040:Interred with Their Bones 3993: 3942: 3811: 3802: 3733: 3695: 3603: 3568:Hamlet, Prince of Denmark 3538: 3517: 3476: 3385: 3194: 3185: 3046: 3017: 2963: 2877: 2838: 2809: 2760: 2663: 2587: 2551: 1912:, Oxford University Press 616:The Portuguese Ambassador 485:Shakespeare's handwriting 391:The Anatomie of Absurdity 245:An amateur production of 208:Royal Shakespeare Company 5136:Battle of Bosworth Field 5051:Archbishop of Canterbury 4971:George, Duke of Clarence 4785:George, Duke of Clarence 4259:The River Bank (Ophelia) 3294:Let the Devil Wear Black 1873:Hill, Eugene D. (1985). 1668:Edwards, pp. xxvii–xxix. 734:Many writers influenced 622:Two noblemen of Portugal 513:An embodiment of Revenge 253:, in the second quad of 199:. It transferred to the 59:in English theatre: the 4866:Henry, Earl of Richmond 4861:Edmund, Earl of Rutland 4790:Edward, Prince of Wales 4579:Reignier, Duke of Anjou 4320:The Chronicles of Amber 4288:Hamlet and His Problems 4030:The Shakespeare Stealer 3581:(BBC 2, animated, 1992) 2984:Cultural references to 1999:Lamb, Margaret (1975). 1910:The Works of Thomas Kyd 1272:"More matter, less art" 883:(1620), and as late as 829:Every Man in His Humour 684: 290:era costume, staged by 187:, first in 1982 at the 140:on 23 February 1592 at 5308:Holinshed's Chronicles 4836:Earl of Northumberland 4659:Cardinal of Winchester 3891:In the Bleak Midwinter 3658:Lyle the Kindly Viking 2480:from Project Gutenberg 2406:The Revenger's Tragedy 2390:Four Revenge Tragedies 1648:10.1093/ref:odnb/15816 1354:"The Spanish Tragedie" 1033:Within the context of 1026:(which excommunicated 949:Lord Chamberlain's Men 600:The Portuguese Viceroy 563:Don Horatio, their son 547:Don Lorenzo's page boy 70:as its own character. 37:Hieronimo is Mad Again 26: 5440:Shakespeare apocrypha 5397:Even a worm will turn 5172:The Wars of the Roses 5041:Countess of Salisbury 5031:Richard, Duke of York 5001:Sir Richard Ratcliffe 4765:Richard, Duke of York 4690:Duchess of Gloucester 4644:Richard, Duke of York 4507:Richard, Duke of York 3551:(Australian TV, 1959) 3435:The Dead Fathers Club 3415:Gertrude and Claudius 3008:Human skull symbolism 2414:The Atheist's Tragedy 2250:Smith, Molly (1992). 1398:"The Spanish Tragedy" 1376:"The Spanish Tragedy" 1151:Rist, Thomas (2016). 267:King's College Chapel 255:Oriel College, Oxford 24: 5363:House of Plantagenet 5131:Princes in the Tower 5121:Sheriff of Wiltshire 5096:Lord Mayor of London 4921:Battle of Tewkesbury 4512:Bishop of Winchester 3405:Too, Too Solid Flesh 3274:Hamlet Goes Business 2974:Common phrases from 2477:The Spanish Tragedie 2450:Studies in Philology 2429:Studies in Philology 1933:Erne, Lukas (2000). 1693:Erne, Lukas (2001). 845:A companion play to 502:Figures in the Frame 398:Stationers' Register 222:. The cast included 97:The Spanish Tragedy, 5460:Metafictional plays 5455:Plays by Thomas Kyd 5324:The Spanish Tragedy 5269:Looking for Richard 5111:Sir William Brandon 4996:Sir William Catesby 4911:Battle of Wakefield 4851:Earl of Westmorland 4831:Sir William Stanley 4700:Richard Plantagenet 4564:Charles the Dauphin 4549:Sir Edmund Mortimer 4418:William Shakespeare 4107:Slings & Arrows 3685:The Skinhead Hamlet 3395:Hamlet Had an Uncle 3204:The Rest Is Silence 3001:Language of flowers 2924:Critical approaches 2907:The Spanish Tragedy 2770:To be, or not to be 2651:William Shakespeare 2544:The Spanish Tragedy 2498:The Spanish Tragedy 2485:The Spanish Tragedy 2402:The Spanish Tragedy 2375:The Spanish Tragedy 2368:The Spanish Tragedy 2291:The Spanish tragedy 2039:The Spanish Tragedy 1826:The Spanish Tragedy 1546:BBC Programme Index 1520:BBC Programme Index 1494:BBC Programme Index 1448:on 24 November 2009 1207:accessed 4 Nov 2013 1117:The Spanish Tragedy 1112:The Spanish Tragedy 1055:The Spanish Tragedy 1035:The Spanish Tragedy 1024:Regnans in Excelsis 937:Antonio and Mellida 928:The Spanish Tragedy 859:The Spanish Tragedy 847:The Spanish Tragedy 808:The Spanish Tragedy 742:and those from the 736:The Spanish Tragedy 720:Soliman and Perseda 691:Viceroy of Portugal 661:The Spanish Tragedy 654:The Spanish Tragedy 630:In Hieronimo's play 467:The Spanish Tragedy 455:The Spanish Tragedy 426:The Spanish Tragedy 374:The Spanish Tragedy 313:as Bel-Imperia and 303:BBC Third Programme 247:The Spanish Tragedy 214:in May 1997 at the 212:The Spanish Tragedy 181:The Spanish Tragedy 176:Modern performances 154:The Spanish Tragedy 86:William Shakespeare 76:Christopher Marlowe 72:The Spanish Tragedy 53:The Spanish Tragedy 31:The Spanish Tragedy 5373:House of Lancaster 5353:Hundred Years' War 5346:Historical context 5254:"King Richard III" 5076:Robert Brackenbury 5066:Sir Thomas Vaughan 5056:Archbishop of York 4946:Duke of Buckingham 4871:Louis XI of France 4695:Edward Plantagenet 4669:Duke of Buckingham 4589:Bastard of Orléans 4347:Gertrude – The Cry 4279:Hamlet and Oedipus 3982:To Be or Not to Be 3841:To Be or Not to Be 3821:To Be or Not to Be 3804:In popular culture 3781:Die Hamletmaschine 3649:The Klingon Hamlet 3558:Hamlet at Elsinore 3214:The Bad Sleep Well 3028:Moscow Art Theatre 2602:Play within a play 1724:The New York Times 1468:"Theatre Pro Rata" 1380:www.thecrimson.com 1336:www2.warwick.ac.uk 1318:www2.warwick.ac.uk 1253:www2.warwick.ac.uk 1235:www2.warwick.ac.uk 851:The Spanish Comedy 569:A maid to Isabella 560:Isabella, his wife 463:Apology for Actors 422:Stationers Company 271:Richard Garriott's 259:Harvard University 242:in November 1997. 134:Lord Strange's Men 129:Early performances 101:play-within-a-play 55:established a new 27: 16:Play by Thomas Kyd 5422: 5421: 5358:Wars of the Roses 5316:Richardus Tertius 5287: 5286: 5144: 5143: 5126:Wars of the Roses 5086:Ghost of Henry VI 5021:Lord Richard Grey 5016:Sir James Tyrrell 5011:Marquis of Dorset 4715:Margery Jourdayne 4649:Earl of Salisbury 4574:Margaret of Anjou 4538:Earl of Salisbury 4384: 4383: 4365:Something Rotten! 4311:Ostalo je ćutanje 4197: 4196: 3599: 3598: 2953:Damon and Pythias 2810:Words and phrases 2617: 2616: 2344:Dillon, Janette. 2300:978-0-14-043646-4 1989:Edwards, p. lxii. 1761:978-3-11-053688-1 1654:(Subscription or 1617:Corrigan, Brian. 1597:hollowaypages.com 1548:. 6 November 1994 1496:. 11 October 1953 1402:apps.carleton.edu 1162:978-1-4725-2773-8 1110:Critics say that 966:Themes and motifs 894:In modern times, 478:In 2013, scholar 301:11 October 1953, 251:Oxford University 201:Lyttelton Theatre 189:Cottesloe Theatre 95:Many elements of 5472: 5200:Henry VI, Part 2 5193:Henry VI, Part 1 5186:The Hollow Crown 5153: 5152: 4906:Battle of Barnet 4901:Battle of Towton 4886:Earl of Pembroke 4735:Peasants' Revolt 4604:Siege of Orléans 4594:Duke of Burgundy 4559:Sir John Fastolf 4468: 4467: 4445:Henry VI, Part 3 4438:Henry VI, Part 2 4431:Henry VI, Part 1 4411: 4404: 4397: 4388: 4387: 4377: 4368: 4359: 4350: 4341: 4332: 4323: 4314: 4305: 4298: 4291: 4282: 4262: 4253: 4244: 4234: 4231:Affe mit Schädel 4225: 4215: 4190: 4181: 4172: 4152: 4142: 4132: 4128:Last Action Hero 4111: 4101: 4092: 4083: 4074: 4054: 4044: 4034: 4024: 4021:The Undiscovered 4015: 4007: 4003:Hamlet, Revenge! 3986: 3976: 3966: 3956: 3935: 3925: 3915: 3905: 3895: 3885: 3875: 3871:Last Action Hero 3865: 3855: 3845: 3835: 3825: 3809: 3808: 3795: 3785: 3775: 3765: 3757: 3747: 3726: 3717: 3708: 3707:" (16th century) 3688: 3679: 3670: 3661: 3652: 3643: 3634: 3625: 3616: 3613:15-Minute Hamlet 3592: 3582: 3572: 3562: 3552: 3531: 3510: 3500: 3490: 3469: 3459: 3449: 3445:Something Rotten 3439: 3429: 3419: 3409: 3399: 3378: 3368: 3358: 3348: 3338: 3328: 3318: 3308: 3298: 3288: 3278: 3268: 3258: 3248: 3238: 3228: 3218: 3208: 3192: 3191: 3178: 3171: 3164: 3157: 3150: 3143: 3136: 3129: 3122: 3115: 3108: 3101: 3094: 3087: 3080: 3073: 3066: 3059: 3039: 3031: 3010: 3003: 2996: 2989: 2979: 2956: 2947: 2945:House of Gonzaga 2940: 2938:Saxo Grammaticus 2933: 2926: 2919: 2910: 2901: 2899:Legend of Hamlet 2870: 2863: 2856: 2849: 2831: 2822: 2802: 2799:Speak the speech 2793: 2782: 2773: 2753: 2746: 2744:The Gravediggers 2739: 2732: 2725: 2718: 2711: 2704: 2697: 2690: 2683: 2676: 2644: 2637: 2630: 2621: 2620: 2532: 2525: 2518: 2509: 2508: 2495: 2494: 2465: 2444: 2349: 2342: 2333: 2331: 2329: 2327: 2311: 2305: 2304: 2286: 2280: 2279: 2247: 2226: 2225: 2201: 2190: 2189: 2165: 2150: 2149: 2121: 2110: 2109: 2081: 2075: 2074: 2034: 2021: 2020: 1996: 1990: 1987: 1981: 1970: 1964: 1961: 1955: 1954: 1930: 1921: 1920: 1919: 1917: 1901: 1895: 1894: 1870: 1864: 1863: 1835: 1829: 1822: 1816: 1815: 1792:Modern Philology 1787: 1772: 1771: 1770: 1768: 1743: 1732: 1731: 1715: 1709: 1708: 1690: 1684: 1675: 1669: 1666: 1660: 1659: 1651: 1633: 1627: 1626: 1614: 1608: 1607: 1605: 1603: 1589: 1583: 1582: 1580: 1578: 1564: 1558: 1557: 1555: 1553: 1538: 1532: 1531: 1529: 1527: 1512: 1506: 1505: 1503: 1501: 1486: 1480: 1479: 1472:Theatre Pro Rata 1464: 1458: 1457: 1455: 1453: 1444:. Archived from 1438: 1432: 1431: 1416: 1410: 1409: 1394: 1388: 1387: 1372: 1366: 1365: 1350: 1344: 1343: 1328: 1322: 1321: 1310: 1304: 1299: 1293: 1292: 1290: 1288: 1274: 1267: 1261: 1260: 1245: 1239: 1238: 1227: 1221: 1218: 1209: 1203: 1192: 1191: 1173: 1167: 1166: 1148: 1142: 1141: 1133: 1049:Sex and Marriage 988:Murder and death 817:Cynthia's Revels 523:The Spanish King 487:) from the play 365:Bartholomew Fair 351:Joanna Vanderham 347:Robert Glenister 292:Theatre Pro Rata 277:27–29 May 2015. 275:Carleton College 228:Robert Glenister 226:as Bel-imperia, 197:Michael Bogdanov 185:National Theatre 5480: 5479: 5475: 5474: 5473: 5471: 5470: 5469: 5425: 5424: 5423: 5418: 5377: 5341: 5283: 5248:The Foretelling 5215: 5164:An Age of Kings 5140: 5106:Sir James Blunt 5071:Sir Christopher 5046:Duke of Norfolk 5036:Earl of Warwick 4956:Duchess of York 4951:Queen Elizabeth 4925: 4846:Duke of Norfolk 4770:Earl of Warwick 4739: 4664:Duke of Suffolk 4654:Earl of Warwick 4613: 4609:Battle of Patay 4584:Duke of Alençon 4569:Joan la Pucelle 4533:Earl of Warwick 4517:Earl of Suffolk 4502:Duke of Bedford 4463: 4457: 4421: 4415: 4385: 4380: 4374:Sons of Anarchy 4371: 4362: 4353: 4344: 4335: 4329:Symphony No. 65 4326: 4317: 4308: 4301: 4294: 4285: 4276: 4265: 4256: 4247: 4237: 4228: 4218: 4208: 4193: 4184: 4175: 4166: 4155: 4145: 4135: 4125: 4114: 4104: 4095: 4089:Born to Be King 4086: 4077: 4068: 4057: 4047: 4037: 4027: 4018: 4010: 4000: 3989: 3979: 3969: 3959: 3949: 3938: 3928: 3918: 3908: 3898: 3888: 3881:Renaissance Man 3878: 3868: 3858: 3848: 3838: 3828: 3818: 3798: 3788: 3778: 3768: 3760: 3750: 3740: 3734:Opera/classical 3729: 3723:Song for Athene 3720: 3711: 3702: 3691: 3682: 3673: 3664: 3655: 3646: 3637: 3628: 3619: 3610: 3595: 3585: 3575: 3565: 3555: 3545: 3534: 3527:Rockabye Hamlet 3524: 3513: 3503: 3493: 3483: 3472: 3462: 3455:Hamlet's Father 3452: 3442: 3432: 3422: 3412: 3402: 3392: 3381: 3371: 3361: 3351: 3341: 3331: 3321: 3311: 3301: 3291: 3281: 3271: 3261: 3251: 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5295: 5293: 5289: 5288: 5285: 5284: 5282: 5281: 5273: 5265: 5257: 5251: 5244: 5236: 5227: 5225: 5217: 5216: 5214: 5213: 5212: 5211: 5203: 5196: 5182: 5176: 5168: 5159: 5157: 5150: 5146: 5145: 5142: 5141: 5139: 5138: 5133: 5128: 5123: 5118: 5113: 5108: 5103: 5101:Earl of Oxford 5098: 5093: 5088: 5083: 5078: 5073: 5068: 5063: 5061:Earl of Surrey 5058: 5053: 5048: 5043: 5038: 5033: 5028: 5023: 5018: 5013: 5008: 5003: 4998: 4993: 4988: 4983: 4978: 4973: 4968: 4963: 4961:Queen Margaret 4958: 4953: 4948: 4943: 4937: 4935: 4927: 4926: 4924: 4923: 4918: 4913: 4908: 4903: 4898: 4893: 4888: 4883: 4878: 4873: 4868: 4863: 4858: 4853: 4848: 4843: 4841:Duke of Exeter 4838: 4833: 4828: 4823: 4812: 4810:Earl of Oxford 4807: 4802: 4797: 4792: 4787: 4782: 4777: 4772: 4767: 4762: 4760:Queen Margaret 4757: 4751: 4749: 4741: 4740: 4738: 4737: 4732: 4727: 4722: 4717: 4712: 4710:Young Clifford 4707: 4702: 4697: 4692: 4687: 4676: 4671: 4666: 4661: 4656: 4651: 4646: 4641: 4636: 4634:Queen Margaret 4631: 4625: 4623: 4615: 4614: 4612: 4611: 4606: 4601: 4596: 4591: 4586: 4581: 4576: 4571: 4566: 4561: 4556: 4545: 4540: 4535: 4530: 4519: 4514: 4509: 4504: 4499: 4494: 4492:Duke of Exeter 4489: 4484: 4478: 4476: 4465: 4459: 4458: 4456: 4455: 4448: 4441: 4434: 4426: 4423: 4422: 4414: 4413: 4406: 4399: 4391: 4382: 4381: 4379: 4378: 4369: 4360: 4351: 4342: 4333: 4324: 4315: 4306: 4299: 4292: 4283: 4273: 4271: 4267: 4266: 4264: 4263: 4254: 4245: 4235: 4226: 4216: 4205: 4203: 4199: 4198: 4195: 4194: 4192: 4191: 4187:Sharpe's Havoc 4182: 4173: 4163: 4161: 4157: 4156: 4154: 4153: 4143: 4133: 4122: 4120: 4116: 4115: 4113: 4112: 4102: 4093: 4084: 4075: 4065: 4063: 4059: 4058: 4056: 4055: 4045: 4035: 4025: 4016: 4012:Theatre of War 4008: 3997: 3995: 3991: 3990: 3988: 3987: 3977: 3967: 3957: 3946: 3944: 3940: 3939: 3937: 3936: 3926: 3916: 3906: 3896: 3886: 3876: 3866: 3856: 3846: 3836: 3826: 3815: 3813: 3806: 3800: 3799: 3797: 3796: 3786: 3776: 3766: 3758: 3748: 3737: 3735: 3731: 3730: 3728: 3727: 3718: 3709: 3699: 3697: 3693: 3692: 3690: 3689: 3680: 3671: 3662: 3653: 3644: 3635: 3626: 3617: 3607: 3605: 3601: 3600: 3597: 3596: 3594: 3593: 3583: 3573: 3563: 3553: 3542: 3540: 3536: 3535: 3533: 3532: 3521: 3519: 3515: 3514: 3512: 3511: 3501: 3491: 3480: 3478: 3474: 3473: 3471: 3470: 3460: 3450: 3440: 3430: 3420: 3410: 3400: 3389: 3387: 3383: 3382: 3380: 3379: 3369: 3359: 3349: 3339: 3329: 3319: 3309: 3299: 3289: 3279: 3269: 3259: 3249: 3239: 3229: 3219: 3209: 3198: 3196: 3189: 3183: 3182: 3180: 3179: 3172: 3165: 3158: 3151: 3144: 3137: 3130: 3123: 3116: 3109: 3102: 3095: 3088: 3081: 3074: 3067: 3060: 3052: 3050: 3044: 3043: 3041: 3040: 3036:Richard Burton 3032: 3023: 3021: 3015: 3014: 3012: 3011: 3004: 2997: 2990: 2980: 2969: 2967: 2961: 2960: 2958: 2957: 2948: 2941: 2934: 2931:Bibliographies 2927: 2920: 2911: 2902: 2894: 2892: 2890: 2889: 2884: 2878: 2875: 2874: 2872: 2871: 2864: 2857: 2850: 2842: 2840: 2836: 2835: 2833: 2832: 2823: 2813: 2811: 2807: 2806: 2804: 2803: 2794: 2785: 2784: 2783: 2764: 2762: 2758: 2757: 2755: 2754: 2747: 2740: 2733: 2726: 2719: 2712: 2705: 2698: 2691: 2684: 2677: 2669: 2667: 2661: 2660: 2647: 2646: 2639: 2632: 2624: 2615: 2614: 2612: 2611: 2604: 2599: 2591: 2589: 2585: 2584: 2582: 2581: 2576: 2571: 2566: 2561: 2555: 2553: 2549: 2548: 2535: 2534: 2527: 2520: 2512: 2506: 2505: 2489: 2481: 2471: 2470:External links 2468: 2467: 2466: 2445: 2435:(2): 130–145. 2422: 2419: 2418: 2417: 2386: 2383:978-1904271604 2371: 2363: 2362: 2357: 2354: 2351: 2350: 2334: 2306: 2299: 2281: 2268:10.2307/450733 2262:(2): 217–232. 2227: 2216:(3): 247–267. 2210:American Imago 2191: 2180:(2): 277–292. 2151: 2111: 2098:10.2307/450733 2092:(2): 217–232. 2076: 2055:10.2307/450723 2049:(2): 271–288. 2022: 1991: 1982: 1977:The Waste Land 1965: 1956: 1945:(3): 339–372. 1922: 1896: 1885:(2): 143–165. 1865: 1852:10.2307/450049 1846:(2): 201–208. 1830: 1817: 1804:10.1086/388170 1773: 1760: 1733: 1710: 1703: 1685: 1670: 1661: 1628: 1609: 1584: 1572:BBC Drama on 3 1559: 1533: 1522:. 2 March 1969 1507: 1481: 1459: 1433: 1411: 1389: 1367: 1345: 1323: 1305: 1294: 1262: 1240: 1222: 1210: 1193: 1186: 1168: 1161: 1143: 1127: 1126: 1124: 1121: 1103: 1100: 1070: 1067: 1050: 1047: 1018: 1015: 1009:Scholars cite 998: 995: 989: 986: 972: 969: 967: 964: 919: 918:1602 additions 916: 908:'s 2002 novel 901:The Waste Land 885:Thomas Rawlins 804: 801: 731: 728: 686: 683: 650: 647: 646: 645: 642: 639: 636: 632: 631: 627: 626: 623: 620: 617: 614: 611: 608: 601: 597: 596: 592: 591: 590:Three citizens 588: 585: 582: 579: 578:Three watchmen 576: 573: 570: 567: 564: 561: 558: 555:Knight Marshal 548: 545: 542: 539: 533: 527: 524: 520: 519: 515: 514: 511: 504: 503: 498: 495: 459:Thomas Heywood 451:Thomas Hawkins 446: 443: 389:from 1589 and 379:Spanish Armada 359: 356: 355: 354: 349:as Hieronimo, 343: 329: 324:as Hieronimo, 318: 309:as Hieronimo, 307:Cecil Trouncer 282:Arcola Theatre 236:Jeffry Wickham 234:as Hieronimo, 218:, directed by 193:Michael Bryant 177: 174: 169:Pembroke's Men 130: 127: 125: 122: 15: 9: 6: 4: 3: 2: 5477: 5466: 5465:Tragedy plays 5463: 5461: 5458: 5456: 5453: 5451: 5450:Revenge plays 5448: 5446: 5443: 5441: 5438: 5436: 5433: 5432: 5430: 5414: 5413: 5409: 5406: 5405: 5401: 5398: 5394: 5391: 5387: 5386: 5384: 5380: 5374: 5371: 5369: 5368:House of York 5366: 5364: 5361: 5359: 5356: 5354: 5351: 5350: 5348: 5344: 5337: 5333: 5332: 5328: 5326: 5325: 5321: 5318: 5317: 5313: 5310: 5309: 5305: 5302: 5301: 5297: 5296: 5294: 5290: 5279: 5278: 5274: 5271: 5270: 5266: 5263: 5262: 5258: 5255: 5252: 5249: 5245: 5242: 5241: 5237: 5234: 5233: 5229: 5228: 5226: 5224: 5223: 5218: 5209: 5208: 5204: 5202: 5201: 5197: 5195: 5194: 5190: 5189: 5188: 5187: 5183: 5180: 5177: 5174: 5173: 5169: 5166: 5165: 5161: 5160: 5158: 5154: 5151: 5147: 5137: 5134: 5132: 5129: 5127: 5124: 5122: 5119: 5117: 5116:Bishop of Ely 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5082: 5079: 5077: 5074: 5072: 5069: 5067: 5064: 5062: 5059: 5057: 5054: 5052: 5049: 5047: 5044: 5042: 5039: 5037: 5034: 5032: 5029: 5027: 5026:Prince Edward 5024: 5022: 5019: 5017: 5014: 5012: 5009: 5007: 5004: 5002: 4999: 4997: 4994: 4992: 4989: 4987: 4984: 4982: 4981:Lord Hastings 4979: 4977: 4974: 4972: 4969: 4967: 4964: 4962: 4959: 4957: 4954: 4952: 4949: 4947: 4944: 4942: 4939: 4938: 4936: 4934: 4933: 4928: 4922: 4919: 4917: 4914: 4912: 4909: 4907: 4904: 4902: 4899: 4897: 4894: 4892: 4891:Lord Stafford 4889: 4887: 4884: 4882: 4881:Prince Edward 4879: 4877: 4876:Bona of Savoy 4874: 4872: 4869: 4867: 4864: 4862: 4859: 4857: 4854: 4852: 4849: 4847: 4844: 4842: 4839: 4837: 4834: 4832: 4829: 4827: 4826:Lord Hastings 4824: 4821: 4817: 4813: 4811: 4808: 4806: 4803: 4801: 4798: 4796: 4795:Lord Clifford 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4766: 4763: 4761: 4758: 4756: 4753: 4752: 4750: 4748: 4747: 4742: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4706: 4705:Lord Clifford 4703: 4701: 4698: 4696: 4693: 4691: 4688: 4685: 4681: 4677: 4675: 4672: 4670: 4667: 4665: 4662: 4660: 4657: 4655: 4652: 4650: 4647: 4645: 4642: 4640: 4637: 4635: 4632: 4630: 4627: 4626: 4624: 4622: 4621: 4616: 4610: 4607: 4605: 4602: 4600: 4599:Jacques d'Arc 4597: 4595: 4592: 4590: 4587: 4585: 4582: 4580: 4577: 4575: 4572: 4570: 4567: 4565: 4562: 4560: 4557: 4554: 4550: 4546: 4544: 4541: 4539: 4536: 4534: 4531: 4528: 4524: 4520: 4518: 4515: 4513: 4510: 4508: 4505: 4503: 4500: 4498: 4495: 4493: 4490: 4488: 4485: 4483: 4480: 4479: 4477: 4475: 4474: 4469: 4466: 4460: 4454: 4453: 4449: 4447: 4446: 4442: 4440: 4439: 4435: 4433: 4432: 4428: 4427: 4424: 4419: 4412: 4407: 4405: 4400: 4398: 4393: 4392: 4389: 4376: 4375: 4370: 4367: 4366: 4361: 4358: 4357: 4356:Poor Murderer 4352: 4349: 4348: 4343: 4340: 4339: 4334: 4330: 4325: 4322: 4321: 4316: 4313: 4312: 4307: 4304: 4300: 4297: 4293: 4290: 4289: 4284: 4281: 4280: 4275: 4274: 4272: 4268: 4261: 4260: 4255: 4252: 4251: 4246: 4243: 4241: 4236: 4233: 4232: 4227: 4224: 4222: 4217: 4214: 4212: 4207: 4206: 4204: 4200: 4189: 4188: 4183: 4180: 4179: 4174: 4171: 4170: 4165: 4164: 4162: 4158: 4150: 4149: 4144: 4140: 4139: 4134: 4130: 4129: 4124: 4123: 4121: 4117: 4109: 4108: 4103: 4099: 4094: 4090: 4085: 4081: 4076: 4072: 4067: 4066: 4064: 4060: 4052: 4051: 4046: 4042: 4041: 4036: 4032: 4031: 4026: 4022: 4017: 4013: 4009: 4005: 4004: 3999: 3998: 3996: 3992: 3984: 3983: 3978: 3974: 3973: 3972:I Hate Hamlet 3968: 3964: 3963: 3958: 3954: 3953: 3948: 3947: 3945: 3941: 3933: 3932: 3927: 3923: 3922: 3917: 3913: 3912: 3907: 3903: 3902: 3897: 3893: 3892: 3887: 3883: 3882: 3877: 3873: 3872: 3867: 3863: 3862: 3857: 3853: 3852: 3847: 3843: 3842: 3837: 3833: 3832: 3827: 3823: 3822: 3817: 3816: 3814: 3810: 3807: 3805: 3801: 3793: 3792: 3787: 3783: 3782: 3777: 3773: 3772: 3767: 3764:(Tchaikovsky) 3763: 3759: 3755: 3754: 3749: 3745: 3744: 3739: 3738: 3736: 3732: 3724: 3719: 3715: 3714:Pull Me Under 3710: 3706: 3701: 3700: 3698: 3694: 3687: 3686: 3681: 3677: 3672: 3669: 3668: 3663: 3659: 3654: 3651: 3650: 3645: 3642: 3641: 3636: 3633: 3632: 3627: 3624: 3623: 3618: 3615: 3614: 3609: 3608: 3606: 3602: 3591:(BBC 2, 2009) 3590: 3589: 3584: 3580: 3579: 3574: 3570: 3569: 3564: 3560: 3559: 3554: 3550: 3549: 3544: 3543: 3541: 3537: 3529: 3528: 3523: 3522: 3520: 3516: 3508: 3507: 3502: 3498: 3497: 3496:Dogg's Hamlet 3492: 3488: 3487: 3486:Hamletmachine 3482: 3481: 3479: 3475: 3467: 3466: 3461: 3457: 3456: 3451: 3447: 3446: 3441: 3437: 3436: 3431: 3427: 3426: 3425:Dating Hamlet 3421: 3417: 3416: 3411: 3407: 3406: 3401: 3397: 3396: 3391: 3390: 3388: 3384: 3376: 3375: 3374:The Lion King 3370: 3366: 3365: 3360: 3356: 3355: 3350: 3346: 3345: 3344:Hamlet A.D.D. 3340: 3336: 3335: 3330: 3326: 3325: 3320: 3316: 3315: 3310: 3306: 3305: 3300: 3296: 3295: 3290: 3286: 3285: 3284:The Lion King 3280: 3276: 3275: 3270: 3266: 3265: 3260: 3256: 3255: 3250: 3246: 3245: 3240: 3236: 3235: 3234:Johnny Hamlet 3230: 3226: 3225: 3220: 3216: 3215: 3210: 3206: 3205: 3200: 3199: 3197: 3193: 3190: 3188: 3184: 3177: 3173: 3170: 3166: 3163: 3159: 3156: 3152: 3149: 3145: 3142: 3138: 3135: 3131: 3128: 3124: 3121: 3117: 3114: 3110: 3107: 3103: 3100: 3096: 3093: 3089: 3086: 3082: 3079: 3075: 3072: 3068: 3065: 3061: 3058: 3054: 3053: 3051: 3049: 3045: 3037: 3033: 3029: 3025: 3024: 3022: 3020: 3016: 3009: 3005: 3002: 2998: 2995: 2991: 2988: 2987: 2981: 2978: 2977: 2971: 2970: 2968: 2966: 2962: 2955: 2954: 2949: 2946: 2942: 2939: 2935: 2932: 2928: 2925: 2921: 2918: 2917: 2912: 2909: 2908: 2903: 2900: 2896: 2895: 2893: 2888: 2885: 2883: 2880: 2879: 2876: 2869: 2865: 2862: 2858: 2855: 2851: 2848: 2844: 2843: 2841: 2837: 2829: 2824: 2820: 2815: 2814: 2812: 2808: 2800: 2795: 2791: 2786: 2780: 2775: 2774: 2771: 2766: 2765: 2763: 2759: 2752: 2748: 2745: 2741: 2738: 2734: 2731: 2727: 2724: 2720: 2717: 2713: 2710: 2706: 2703: 2699: 2696: 2692: 2689: 2685: 2682: 2678: 2675: 2671: 2670: 2668: 2666: 2662: 2658: 2657: 2652: 2645: 2640: 2638: 2633: 2631: 2626: 2625: 2622: 2610: 2609: 2605: 2603: 2600: 2598: 2597: 2593: 2592: 2590: 2586: 2580: 2577: 2575: 2572: 2570: 2567: 2565: 2562: 2560: 2557: 2556: 2554: 2550: 2546: 2545: 2540: 2533: 2528: 2526: 2521: 2519: 2514: 2513: 2510: 2504: 2500: 2499: 2490: 2487: 2486: 2482: 2479: 2478: 2474: 2473: 2463: 2459: 2455: 2451: 2446: 2442: 2438: 2434: 2430: 2425: 2424: 2415: 2411: 2407: 2403: 2399: 2398:0-19-283878-4 2395: 2391: 2387: 2384: 2380: 2376: 2373:Kyd, Thomas, 2372: 2369: 2366:Kyd, Thomas, 2365: 2364: 2360: 2359: 2347: 2341: 2339: 2321: 2317: 2310: 2302: 2296: 2292: 2285: 2277: 2273: 2269: 2265: 2261: 2257: 2253: 2246: 2244: 2242: 2240: 2238: 2236: 2234: 2232: 2223: 2219: 2215: 2211: 2207: 2200: 2198: 2196: 2187: 2183: 2179: 2175: 2171: 2164: 2162: 2160: 2158: 2156: 2147: 2143: 2139: 2135: 2131: 2127: 2120: 2118: 2116: 2107: 2103: 2099: 2095: 2091: 2087: 2080: 2072: 2068: 2064: 2060: 2056: 2052: 2048: 2044: 2040: 2033: 2031: 2029: 2027: 2018: 2014: 2010: 2006: 2002: 1995: 1986: 1979: 1978: 1974: 1969: 1960: 1952: 1948: 1944: 1940: 1936: 1929: 1927: 1911: 1907: 1900: 1892: 1888: 1884: 1880: 1876: 1869: 1861: 1857: 1853: 1849: 1845: 1841: 1834: 1827: 1824:Kyd, Thomas. 1821: 1813: 1809: 1805: 1801: 1797: 1793: 1786: 1784: 1782: 1780: 1778: 1763: 1757: 1753: 1749: 1742: 1740: 1738: 1729: 1725: 1721: 1714: 1706: 1704:0-7190-6093-1 1700: 1696: 1689: 1682: 1681: 1674: 1665: 1657: 1649: 1645: 1641: 1640: 1632: 1624: 1620: 1613: 1598: 1594: 1588: 1573: 1569: 1563: 1547: 1543: 1537: 1521: 1517: 1511: 1495: 1491: 1485: 1477: 1473: 1469: 1463: 1447: 1443: 1437: 1429: 1425: 1421: 1415: 1407: 1403: 1399: 1393: 1385: 1381: 1377: 1371: 1363: 1359: 1355: 1349: 1341: 1337: 1333: 1327: 1319: 1315: 1309: 1303: 1298: 1282: 1278: 1273: 1266: 1258: 1254: 1250: 1244: 1236: 1232: 1226: 1217: 1215: 1208: 1202: 1200: 1198: 1189: 1187:9780521767545 1183: 1179: 1172: 1164: 1158: 1154: 1147: 1139: 1132: 1128: 1120: 1118: 1113: 1108: 1099: 1095: 1092: 1086: 1084: 1080: 1076: 1066: 1062: 1058: 1056: 1046: 1042: 1038: 1036: 1031: 1029: 1025: 1014: 1012: 1007: 1003: 994: 985: 981: 977: 963: 961: 956: 955: 950: 945: 943: 939: 938: 933: 929: 924: 915: 913: 912: 907: 903: 902: 897: 892: 890: 889:The Rebellion 886: 882: 878: 874: 873: 868: 867:Thomas Tomkis 863: 860: 856: 852: 848: 843: 841: 840:Thomas Dekker 837: 836: 831: 830: 825: 824: 823:The Alchemist 819: 818: 813: 809: 800: 796: 794: 789: 784: 782: 781: 776: 772: 768: 765:. The use of 764: 760: 756: 752: 751: 745: 741: 737: 727: 723: 721: 715: 711: 709: 703: 701: 695: 692: 682: 679: 675: 673: 668: 666: 662: 657: 655: 643: 640: 637: 634: 633: 629: 628: 624: 621: 618: 615: 612: 609: 606: 602: 599: 598: 594: 593: 589: 586: 583: 580: 577: 574: 571: 568: 565: 562: 559: 556: 552: 551:Don Hieronimo 549: 546: 543: 540: 537: 534: 531: 528: 525: 522: 521: 517: 516: 512: 510: 507:The ghost of 506: 505: 501: 500: 494: 492: 491: 486: 481: 476: 474: 473: 468: 464: 460: 456: 452: 442: 439: 438:Thomas Pavier 434: 429: 427: 423: 419: 415: 411: 407: 403: 399: 394: 392: 388: 384: 380: 375: 371: 367: 366: 352: 348: 344: 342: 338: 334: 333:Oliver Cotton 330: 327: 323: 319: 316: 312: 308: 304: 300: 299: 298: 295: 293: 289: 288: 283: 278: 276: 272: 268: 264: 260: 256: 252: 248: 243: 241: 237: 233: 229: 225: 221: 217: 213: 209: 204: 202: 198: 194: 190: 186: 182: 173: 170: 166: 165:Admiral's Men 161: 159: 155: 151: 147: 143: 139: 135: 121: 119: 115: 114: 109: 107: 102: 98: 93: 91: 87: 83: 82: 77: 73: 69: 66: 62: 58: 54: 50: 46: 43: 39: 38: 33: 32: 23: 19: 5410: 5402: 5335: 5329: 5323: 5322: 5314: 5306: 5298: 5275: 5267: 5260: 5250:" (1983; TV) 5238: 5230: 5220: 5205: 5198: 5191: 5184: 5170: 5162: 4966:Lady Neville 4931: 4896:Lord Bourbon 4744: 4618: 4471: 4450: 4443: 4436: 4429: 4372: 4363: 4354: 4345: 4336: 4318: 4309: 4286: 4277: 4257: 4248: 4242:(Waterhouse) 4239: 4229: 4220: 4210: 4185: 4176: 4167: 4146: 4136: 4126: 4105: 4071:The Producer 4048: 4038: 4028: 4011: 4001: 3980: 3970: 3960: 3950: 3929: 3919: 3909: 3899: 3889: 3879: 3869: 3859: 3849: 3839: 3829: 3819: 3789: 3779: 3769: 3751: 3742: 3683: 3665: 3647: 3638: 3629: 3620: 3611: 3586: 3576: 3566: 3556: 3546: 3525: 3504: 3494: 3484: 3463: 3453: 3443: 3433: 3423: 3413: 3403: 3393: 3372: 3362: 3352: 3342: 3332: 3322: 3312: 3302: 3292: 3282: 3272: 3264:Strange Brew 3262: 3252: 3242: 3232: 3222: 3212: 3202: 3019:Performances 2985: 2975: 2951: 2914: 2906: 2905: 2868:Substitution 2654: 2606: 2594: 2543: 2542: 2497: 2484: 2476: 2456:(1): 20–38. 2453: 2449: 2432: 2428: 2413: 2409: 2405: 2401: 2389: 2374: 2367: 2356:Bibliography 2345: 2324:. Retrieved 2309: 2290: 2284: 2259: 2255: 2213: 2209: 2177: 2173: 2129: 2125: 2089: 2085: 2079: 2046: 2042: 2038: 2011:(1): 33–40. 2008: 2004: 1994: 1985: 1975: 1973:Eliot, T. S. 1968: 1959: 1942: 1938: 1914:, retrieved 1909: 1899: 1882: 1878: 1868: 1843: 1839: 1833: 1825: 1820: 1798:(1): 27–35. 1795: 1791: 1765:, retrieved 1751: 1723: 1713: 1694: 1688: 1679: 1673: 1664: 1637: 1631: 1622: 1612: 1600:. Retrieved 1596: 1587: 1575:. Retrieved 1571: 1562: 1550:. Retrieved 1545: 1536: 1524:. Retrieved 1519: 1510: 1498:. Retrieved 1493: 1484: 1471: 1462: 1450:. Retrieved 1446:the original 1436: 1423: 1414: 1401: 1392: 1379: 1370: 1357: 1348: 1335: 1326: 1317: 1308: 1302:Michael Boyd 1297: 1285:. 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