The Spanish Tragedy - Structure

Structure

The structure in essence is a 'play within a play'. The play begins with the background of why Hieronimo wants to seek revenge. He is seen as minor character and eventually leads up to being the protagonist to add to the revenge plot. When he becomes the main character, the plot begins to unfold and become the revenge story that it is. Kyd incorporates the build up 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 essentially 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.

Critics say that The Spanish Tragedy resembles a Senecan Tragedy. The act separations, 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 conflict with pagan ideals. We also see Kyd’s use of Seneca through his referencing three Senecan plays in the Spanish Tragedy. It is said that this play was the initiator of the style for many “Elizabethan revenge tragedies, most notably Hamlet”.

Read more about this topic:  The Spanish Tragedy

Famous quotes containing the word structure:

    ... the structure of a page of good prose is, analyzed logically, not something frozen but the vibrating of a bridge, which changes with every step one takes on it.
    Robert Musil (1880–1942)

    ... the structure of our public morality crashed to earth. Above its grave a tombstone read, “Be tolerant—even of evil.” Logically the next step would be to say to our commonwealth’s criminals, “I disagree that it’s all right to rob and murder, but naturally I respect your opinion.” Tolerance is only complacence when it makes no distinction between right and wrong.
    Sarah Patton Boyle, U.S. civil rights activist and author. The Desegregated Heart, part 2, ch. 2 (1962)

    A special feature of the structure of our book is the monstrous but perfectly organic part that eavesdropping plays in it.
    Vladimir Nabokov (1899–1977)