The Spanish

Tragedy
Study Guide by Course Hero

the afterlife. The subtitle Hieronimo is Mad Again, probably

What's Inside appended long after The Spanish Tragedy had enjoyed great
popularity, refers to a prequel play entitled I Hieronimo
probably written after Thomas Kyd's death.
j Book Basics ................................................................................................. 1

d In Context ..................................................................................................... 1

a Author Biography ..................................................................................... 2 d In Context

h Characters .................................................................................................. 3

k Plot Summary ............................................................................................. 8 Legacy of The Spanish

c Scene Summaries .................................................................................. 13 Tragedy
g Quotes ........................................................................................................ 33
Since performances of The Spanish Tragedy continued into
l Symbols ..................................................................................................... 35 the mid-1600s, the play crosses from the Elizabethan into the
Jacobean era. James I (1566–1625), who took the throne upon
m Themes ...................................................................................................... 36 the death of Elizabeth I, was not only paranoid but also highly
superstitious. The subject of the play—supernatural spirits,
e Suggested Reading ............................................................................. 38
demons, and ghosts stalking about and preying upon the guilty
consciences of miscreants, especially those of high
rank—were of great interest to him and his court, which helped

j Book Basics
ensure its popularity.

Published copies of the play were in such demand that it was

AUTHOR reprinted nine times before 1633. The play also inspired
Thomas Kyd hundreds of imitations, parodies, poems, stories, and even a
ballad, anonymously written in 1620 and titled The Spanish
YEAR WRITTEN Tragedy, Containing the Lamentable Murders of Horatio and
c. 1587 Bellimperia: With the pitiful Death of Old Hieronimo. To the Tune
of Queene Dido. The ballad lyrics present the plot from
GENRE
Hieronimo's point of view.
Drama, Tragedy

ABOUT THE TITLE

The title of The Spanish Tragedy has three references: the Protestant England and
devastation of the main character in losing his son; the larger
tragedy of the unified kingdoms of Spain and Portugal reaching
the end of the play without an heir; and the concept that
revenge wreaks tragedy not only in life but also unendingly in
The Spanish Tragedy Study Guide Author Biography 2

plays—to official playhouses in South London owned by

Catholic Spain shareholders, some of whom were the dramatists themselves.

Although the political structures alluded to in The Spanish Shakespeare and his fellow-dramatists sometimes appeared
Tragedy are never directly referenced during the course of the as minor characters onstage; not only in the performances of
play, it is likely Elizabethan audiences easily connected it to their own plays, but also in those written by others. A report
events surrounding the "Iberian Union" of 1580 between the stating that Shakespeare performed the part of the "Ghost of
crowns of Portugal and Spain. Having divided the territories of Hamlet" can't be assumed to mean he acted in his own play.
the New World between them, Spain and Portugal entered a The statement could have referred to an earlier version by
period of contention following the death of the Portuguese Shakespeare (sometimes referred to as the ur-Hamlet, of
King Sebastian during a battle against the Moroccans and which no text is extant) or even a Hamlet (also lost) some
Turks in 1578, leaving no direct heir. Although elderly, theater historians suggest might have been written by Thomas
Sebastian's great-uncle Henry reigned until his own death in Kyd. In any case, it was common for playwrights to plagiarize
1580, whereupon Philip II of Spain established the Iberian not only plays and other writings, but also stories, legends, and
Union, which lasted until 1640 despite a three-year resistance plays from antiquity without referencing original sources.
movement by the Portuguese António, prior of Crato, with the
aid of foreign allies.

Intrigue and confusion in the Spanish Catholic court was

a Author Biography
fodder for political propaganda in Protestant Elizabethan
England; not only in plays and public diversions, but also in
private discussions at court over card and board games. The Early Life and Influences
defeat of the Spanish Armada during a storm in August 1588
was also fresh in the minds of audiences—England was not Thomas Kyd was born in London on November 6, 1558, the son
entirely certain Spain wasn't going to launch another attack. of a scrivener or public copyist, Francis Kyd, and his wife,
The Spanish Tragedy made clear Portuguese inferiority to the Anna. Details of Kyd's life are uncertain, but it is known that he
Spanish: the King of Spain's counterpart is the Viceroy of received an education at the Merchant Taylors' School,
Portugal, whose son Balthazar is depicted as "dark skinned." In founded in 1561. While there, Kyd would have had a chance to
turn, the play takes every opportunity to establish Spain's benefit from its first headmaster, humanist and educator
inferiority to the English. Richard Mulcaster (1531–1611) and one of Mulcaster's most
illustrious students, poet Edmund Spenser (1552/53–99).
Studies at this school would have included a heavy dose of
The Real Hamlet Latin, along with Hebrew, Greek, music, and mathematics. Latin
studies would have encompassed the writings of the ancient
Most theater historians agree that The Spanish Tragedy is the Romans, particularly the Stoic statesman and playwright
original revenge tragedy upon which Shakespeare's Hamlet is Lucius Annaeus Seneca (c. 4 BCE–65 CE), as well as the poets
based. In addition to the shared theme of revenge, both plays Publius Ovidius Naso (43 BCE–17 CE) and Horace (65–8 BCE),
include characters who go mad, a "play within a play," and the recited by rote in long passages by the students. In addition to
presence of the ghost of a murdered man. However, who tragedies by Seneca, Kyd probably also encountered the
presented the first version of Hamlet is a murky issue because Roman comedies of Terrence (c. 195–159 BCE) and Plautus (c.
copyright laws were not in effect until the establishment of the 254–184 BCE). A common trope of these comedies, which also
Stationer's Register in 1557. Even then, there was no secure fueled the Italian commedia dell arte, was a pair of young lovers
guarantee of authorship: sometimes playwrights weren't even opposed by family. The reader of The Spanish Tragedy will
named, while their plays enjoyed continuous attendance. Over note that especially the first scenes of the play contain
the course of relatively few years in the mid- to late-1500s, phrases in Latin and a rhetorical, rhythmic, and rhyming poetic
Elizabethan dramatic art was transitioning from itinerant form, which was taught in Elizabethan grammar schools.
groups of players—who had to submit "letters of passport" to
each town official for permission to set up and perform their Growing up and into early adulthood, Kyd probably attended a

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The Spanish Tragedy Study Guide Characters 3

wide variety of London entertainments, such as bear-baiting,

dicing, card and board games, and drama performances of the Arrest and Death
period. At some point, he joined his father's trade as a
scrivener. There is no evidence he attended university, which While the specifics of Kyd's interrogation are not known, he

caused his critics to ridicule him as "an uneducated pretender was arrested in 1593 and protested under torture that atheist

to wit." Kyd then turned to writing. papers found in the apartment were not his, but Marlowe's. The
playwright was front and center again when his roommate,
fellow-dramatist and likely spy, Christopher "Kit" Marlowe

Kyd as Spy (1564–93) was murdered under very suspicious circumstances.

After publishing another play, Cornelia, in 1594, Kyd died in
debt the same year.
Kyd evidently had ambitions above his father's trade and by
1587 had entered into the service of an unidentified lord, either
Earl of Sussex or Lord Strange, both of whom had their own
company of players. As was the case with some dramatists in h Characters
Elizabethan England, it is speculated that Kyd may have
engaged in some tasks of espionage. It was common for a lord
or member of the royal household to engage musicians or
actors to loiter around eavesdropping on conversations—while
Hieronimo
seemingly idly strumming on a lute—which were later recited to
Over the course of the play Hieronimo undergoes radical
their patron word for word—a prerequisite for this kind of
transformation from a loyal, trusted, and comfortable courtier
employment being a phenomenal ear for languages and
in service to the King of Spain into a murderer. He becomes
memorization. As a skilled scrivener, Kyd may also have been
"mad" not only because of the murder of his only son and his
engaged in breaking codes embedded in secret messages—of
inability to obtain justice for this crime, but also because of the
which there were quite a few between Catholics in Spain and
disintegration of civil law and the indifference of the Duke of
England intent upon removing the "heretical" Protestant Queen
Castile. As a trusted administrator of justice, it is Hieronomo's
Elizabeth I. Secretary Sir Francis Walsingham (c. 1532–90) was
duty to make sure justice is done to others, even when that
ruthless in weaving a meticulous spy network and ferreting out
same justice is denied to him. And as a devoted father and
treason.
husband, the loss of his only son and the consequent suicide of
his wife Isabella drives him into the spiral descent by which he
determines that the "wild justice" of direct revenge is the only
Kyd as Writer course of action available to him. Civil redress doesn't work
because Horatio's murderers are more highly ranked than he
Kyd first wrote The Spanish Tragedy sometime around 1587,
and his family and therefore immune from punishment. In the
and the play was recorded into the Stationer's Register in
throes of single-minded vengeance, Hieronimo at first pretends
1592. Its main claim to fame in theater history is that it provided
to be mad in order to throw off his enemies, allowing them to
a revenge tragedy template for playwright William
believe all their ambitions will be fulfilled only moments before
Shakespeare's Hamlet (1599–1601). Records are inconclusive,
he arranges for their deaths. When words and images fail to
but The Spanish Tragedy was reportedly more popular in its
express his pain and frustration, he resorts to the illusion of a
day than any of Shakespeare's plays. Between 1587–92 the
play to complete his revenge in reality.
play was performed 29 times in at least four venues, including
by Shakespeare's Lord Chamberlain's Men. The Spanish
Tragedy was still being performed when the theaters closed in
1642, which means audiences enjoyed it off and on for 50
Ghost of Andrea
years.
The Ghost of Andrea posits the "question" in the play, "How will
my death be avenged?" With his assigned guide and
companion, Revenge, he serves as the Chorus present

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The Spanish Tragedy Study Guide Characters 4

throughout the entire play. A noble and loving knight to his understand.
more high-ranking lady in life, Andrea fulfilled his duties as both
a valorous warrior and an attentive lover; he was the ideal
courtier who is equally capable in these opposite roles. Bel-Imperia
However, this capacity made it difficult for the judges of the
Underworld to decide which reward in the afterlife would best Highborn, beautiful, and imperious, Bel-Imperia is accustomed
suit him: the abode of fallen warriors, or the abode of the to getting what she wants. She enjoys lovers who are not her
lovers. His presence and commentary during the play sets the equal in rank and will not put up with obstacles to her passion.
tone of oppositions that drive the course of the action by She is the key to the play, because she is the reason her first
which, in due time, his death on the battlefield is revenged. knightly lover, Andrea, has gone to war—to win honor in her
Even so, the Ghost of Andrea is not very patient, and he eyes. Once Andrea has been killed by Balthazar, she easily
constantly berates Revenge for taking so long in completing transfers her affections to his best friend, Horatio. She wants
the task. love and romance, but her station in life demands that she be
given as wife to the highest bidder—Balthazar, whom she
cannot stand. Bel-Imperia plays a game ruled by powerful men
Revenge as best a woman of her time can. She makes coy shows of
submission to her father's wishes and pretends to cozy up to
An entity of the underworld, Revenge is the "answer" to the her murderous brother so that she can goad Hieronimo into
Ghost of Andrea's "question" and, with him, provides the revenging Horatio's death. She, almost as much as Hieronimo,
Chorus. As the personification of a quality, Revenge's ultimate is stripped of all pretense of civil behavior by the end of the
purposes are obscure and puzzling at first, because there play. It is she who avenges Andrea's and Horatio's deaths by
seems to be no limit to the time frame in which Revenge takes killing Balthazar and taking her own life as well.
action; sooner or later makes no difference whatsoever. This
quality frustrates the Ghost of Andrea, who wants to gain
immediate and forceful restitution. But as an "immortal" force, Balthazar
Revenge acts in his/her own time to work through all the layers
of his instrument, Hieronimo, even as Andrea's murderer Weak and vain, Balthazar can make a pretty speech and
comes within arm's reach of fulfilling his passion to gain Bel- actually seems to enjoy his role as the rejected lover. He is
Imperia. In this way Revenge restrains the Ghost of Andrea easily manipulated by his new friend, Lorenzo, and the two of
until a full and completely devastating conclusion to injustice them conspire to murder Horatio. Although a prince of
can be made. Portugal, Balthazar is determinedly single-minded in
possessing the love of Bel-Imperia, and the more she rejects
him the more ardently he pursues her. He takes for granted the
Horatio privileges of rank and fails to understand that genuine love
doesn't yield to promises of wealth, position, or power. In the
A young man, Horatio is barely 19. He is honest, brave, and end he doesn't seem to care one way or the other how Bel-
chivalrous on the battlefield as well as in romance, a devoted Imperia feels about him as long as he can possess her as his
and obedient son, and loyal knight to Spain. It is his valor on the wife. The implication is that if she had not killed him and
battlefield that first impresses Balthazar, who would like to herself, he would have made her pay dearly for giving her love
have been placed in his custody when captured, instead of that to someone else.
of Lorenzo. Horatio's care of the remains of his fallen comrade
in battle inspires Bel-Imperia's admiration of him, as the two of
them progress from warm friendship to lovers. Without guile or Lorenzo
deception himself, Horatio easily falls victim to the plot to kill
him. His altruism completely baffles Balthazar and Lorenzo, Outwardly boastful and cruel, Lorenzo deceives everyone with
who think him weak and easily duped. At the same time, his plausible lies and manipulates Balthazar's infatuation with Bel-
gentle self-confidence is something they both fear and fail to Imperia. A young man of ambition and anxious to promote his

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The Spanish Tragedy Study Guide Characters 5

own glory over others on the battlefield, Lorenzo uses the

battlefield to make a show to everyone else of having what he
really lacks; a sense of honor and courage. Always uncertain of
himself, and trying to take from others what he suspects he
doesn't have, Lorenzo believes he is clever enough to control
Balthazar once Balthazar has married his sister and gained the
crown. This situation far better suits Lorenzo's talents than
actually being in line for the crown himself, as it is a much safer
position from which to wield power. As for love, Lorenzo has no
idea how deeply Bel-Imperia is devoted to her ideal of romance
or the extent to which she is willing to go when denied her
desire. Spoiled and indulged, Lorenzo thinks nothing of using
underlings and discarding them in order to distance himself
from scandal and dishonor.

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The Spanish Tragedy Study Guide Characters 6

Character Map

Betrothed

Ghost of Andrea Former lovers

Chorus member; dead spirit

Former Chorus
enemies members

Revenge
Balthazar
Chorus member;
Weak and vain Prince
embodies power
of Portugal
of revenge
Antagonist

Rivals in
Hieronimo
Knight Marshal of Spain;
love
married to Isabella

Son

Horatio Bel-Imperia
Honest, kind and Antagonist Intelligent, strong-
brave young man willed woman

Murderer Siblings

Lorenzo
Deceitful, manipulative man;
son of the duke

Lovers

Main Character

Other Major Character

Minor Character

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The Spanish Tragedy Study Guide Characters 7

Full Character List Suleiman (Balthazar) is the

emperor; Erasto (Lorenzo) is the
Characters in Knight of Rhodes; The Pasha
Hieronimo's play (Hieronimo) serves Suleiman;
Character Description
Perseda (Bel-​Imperia) is the chaste
wife of the Knight of Rhodes.
Hieronimo is the middle-​aged to
Hieronimo elderly Knight Marshal of Spain and
Christophil is one of Lorenzo's
Horatio's father. Christophil
servants.

Andrea was a knight in the Spanish

Don Pedro is the brother of the
Ghost of Andrea forces and Bel-​Imperia's lover in Don Pedro
Viceroy of Portugal.
life.

The Duke of Castile is the father of

Revenge has been charged by
Duke of Castile Lorenzo and Bel-​Imperia and
Persephone to reveal the workings
Revenge brother to the King of Spain.
of vengeance in the play to the
Ghost of Andrea.
The general is commander of the
General
Spanish Army.
Horatio is Hieronimo's son and
Horatio Deputy to the Knight Marshall of
Spain. The hangman is employed to
Hangman
execute criminals.
Bel-​Imperia is the daughter of the
Bel-​Imperia Duke of Castile and Lorenzo's Hymen is a character in the Second
sister. Hymen
Dumb Show.

Balthazar is the son of the Viceroy Isabella is Hieronimo's wife and

Balthazar Isabella
of Portugal (Portingale). mother of Horatio.

Lorenzo is the son of the Duke of Jacques is Hieronimo's French

Lorenzo Castile, nephew to the King of Jacques
servant.
Spain and Bel-​Imperia's brother.

Jerome Jerome is Lorenzo's page boy.

Alexandro is an honest Portuguese
Alexandro
nobleman.
The King of Spain is Lorenzo and
King of Spain Bel-​Imperia's uncle and the brother
The Ambassador of Portugal of the Duke of Castile.
Ambassador of serves as the emissary between
Portugal the Viceroy of Portugal and the
King of Spain. Maid The maid serves Isabella.

The attendants serve in the The nobles are members of the

Attendants Nobles
Portuguese court. Portuguese court.

Bazardo is a painter who comes to The officers serve in the

Bazardo Officers
meet Hieronimo. Portuguese Army.

Bazulto is an old man who petitions Pedringano Pedringano is Bel-​Imperia's servant.

Bazulto for redress for the murder of his
own son.
Pedro is Hieronimo's Spanish
Pedro
servant.

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The Spanish Tragedy Study Guide Plot Summary 8

Imperia in secret, but who was killed in war by the son of the
Serberine Serberine is Balthazar's servant.
Viceroy of Portugal, Balthazar. In his journey into the
underworld he is directed to the court of Hades and
The soldiers serve in the
Soldiers Persephone. Persephone instructs Revenge to lead the Ghost
Portuguese Army.
of Andrea back to Earth to observe events leading up to the
death of his killer at the hand of his beloved Bel-Imperia.
Three citizens present petitions to
Three citizens Balthazar has been captured by both Lorenzo and Horatio; the
Hieronimo.
King of Spain mediates that Lorenzo will have charge of the
Three kings perform in the First prisoner, while Horatio will receive the ransom.
Three kings
Dumb Show.
Meanwhile, the Viceroy of Portugal is made to believe his son
Three knights perform in the First Balthazar has been murdered, and falls in grief to the floor,
Three knights
Dumb Show. casting aside his crown and bewailing Fortune for his loss.
Horatio and Bel-Imperia meet; Horatio tells her about her lover
Three watchmen are assigned to Andrea's death, whom he also mourns as his closest friend.
Three watchmen
patrol Saint Luigi's Park. Balthazar enters and falls madly in love with Bel-Imperia on
sight. The Ambassador of Portugal sees how well Balthazar is
The two noblemen are Portuguese being treated; far from dead, as the viceroy assumes.
Two noblemen
courtiers.
Hieronimo, the Knight Marshall of Spain, entertains the king
with a Dumb Show in which Spain and Portugal have been
The two Portuguese citizens are made to yield to the English. Outraged that his murderer is
Two Portuguese
visitors to Spain from Portugal.
feasting, the Ghost of Andrea upbraids Revenge, who only
assures the ghost in stark opposition how this temporary
Two torchbearers appear in the
Two torchbearers situation will be reversed.
Second Dumb Show.

Viceroy of The Viceroy of Portugal is

Portugal Balthazar's father. Act 2
Villuppo is a Portuguese nobleman Lorenzo, having noticed Balthazar is completely smitten by his
Villuppo who falsely accuses Alexandro of sister Bel-Imperia, goes to work to persuade the Portuguese
murdering Balthazar.
prince that she will, with time and patience, come round to
Balthazar's suit. Lorenzo suspects a rival and summons Bel-
Imperia's servant Pedringano to ask if his sister has a secret

k Plot Summary lover. Lorenzo first tries the "carrot" (that is, he reminds
Pedringano of how he helped him avoid punishment), but it isn't
until he applies the "stick" by threatening violence that
The action of The Spanish Tragedy takes place in four acts, 31
Pedringano says it might be Horatio. Lorenzo engages the
scenes, and 5 additions—added in the play's 1602 published
lovesick Balthazar in a plot to bring about Horatio's downfall.
version, well after the initial performances of the play and
Although the attraction between Bel-Imperia and Horatio is
intended to make the flow of action from one scene to the next
turning into love, the King of Spain and his brother the Duke of
more clear.
Castile discuss the advantages of having Bel-Imperia marry
Balthazar. At a tryst between Horatio and Bel-Imperia in his
parents' garden, Lorenzo and Balthazar abduct Bel-Imperia
Act 1 and attack Horatio: first hanging him from a fruit tree, then
repeatedly stabbing him to death with the aid of Pedringano
The play opens with an exchange between the two members
and Serberine. Hearing the commotion, Hieronimo wakes from
of the Chorus; the Ghost of Andrea and Revenge. The ghost
sleep and finds his son murdered. Addition 1 appears in Scene
explains who he was in life; a Spanish knight who loved Bel-

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The Spanish Tragedy Study Guide Plot Summary 9

5, following line 45, in which Hieronimo and his wife Isabella Completely ignoring Bel-Imperia's feelings, her father, her
recognize that the hanged man is their son. Act 2 concludes uncle the King of Spain, and the Viceroy of Portugal have all
with the Ghost of Andrea outraged over the death of his friend come to an agreement and set her marriage to the delighted
Horatio and the abduction of his beloved Bel-Imperia. Revenge, Balthazar. At the conclusion of Act 3, the Ghost of Andrea is
however, calmly advises the Ghost of Andrea that patience is beside himself with anger that his enemies are literally getting
required until the time is ripe for revenge to go to work. away with murder, while his beloved is betrothed to his
murderer. To make matters worse, Revenge has fallen asleep.
The Ghost of Andrea rails, but Revenge assures him that his
Act 3 sleep is but preparation: the scene of the wedding will also be
the scene of vengeance.
The false Portuguese courtier Villuppo accuses his true
It is speculated that, given the length of Act 3, it was most
counterpart, Alexandro, of having stabbed Balthazar in the
likely divided into Act 3 and Act 4 in the earliest versions of the
back during the battle. Alexandro protests his innocence, but
play, which would bring the number of acts to five, as would
the viceroy will not listen, instead ordering Alexandro to be
have been required by the Senecan model for a classical
burned at the stake. Before this can be carried out, the
Roman tragedy.
ambassador arrives to inform the court that Balthazar is not
only very much alive, but is being well-treated at the Spanish
court. The ambassador also carries the proposal that Balthazar
be engaged to the King of Spain's niece, Bel-Imperia. Act 4
Hieronimo's grief is interrupted when a letter written in blood Just as the Ghost of Andrea has goaded Revenge, so now
drops to the ground at his feet. The letter seems to have been does Bel-Imperia vehemently goad Hieronimo to exact
written by the captive Bel-Imperia naming his son's murderers. revenge, and she swears to do whatever it will take to help him.
Hieronimo is suspicious: why would she implicate her own When Balthazar suggests Hieronimo put on a play to celebrate
brother? Fearful that his crime could come to light, Lorenzo the wedding, Hieronimo has in mind a revenge play he wrote
first has the compromised Pedringano murder Serberine, but in set in Rhodes. Bel-Imperia is to act the part of the betrayed
the process, Pedringano is captured and condemned to be maiden speaking in French; Lorenzo agrees to play the part of
hanged. Sure of Lorenzo's ability to get him off, Pedringano the Knight of Rhodes speaking Italian; Balthazar plays the part
clowns around with the hangman until the bench is pushed out of the cruel Turk speaking Latin; and Hieronimo is to play the
from under his feet. Lorenzo deems the silencing of these part of the murderous Pasha speaking Greek. Although his
coconspirators acceptable "collateral damage" to keep himself distraught wife Isabella cuts down the fruit tree from which her
from being discovered. However, the hangman later gives son had been hanged, Hieronimo contrives to present the
Hieronimo a letter Pedringano had written to Lorenzo clearly corpse of his son still dangling from the tree as a tableau for
implicating Lorenzo in the murder of Horatio, thus the play.
corroborating Bel-Imperia's letter. Hieronimo determines to
bring the matter to the justice of the king. Unbeknownst to the Portuguese and the Spanish assembled
as the audience, the knives in the hands of the actors are not
Bel-Imperia, now a captive in her own home, bewails her stage props, but quite real. They applaud the skill of feigning
losses. When nine days have passed, Lorenzo figures his sister death, as Pasha (Hieronimo) stabs Erasto (Lorenzo) to death,
should be ready to accept Balthazar's advances. However, he and then Perseda (Bel-Imperia) fatally stabs Suleiman
has severely misjudged her willful feelings. Both Hieronimo and (Balthazar) before taking her own life. Finally, speaking in
his wife Isabella show escalating signs of madness. Blocked by English, the Pasha (Hieronimo) opens the curtain to reveal the
Lorenzo at every turn from approaching the king, Hieronimo rotting corpse of his son hanging from the tree. When the
plots revenge as his only recourse to obtain justice. First horrified court demands an explanation and the king threatens
describing to a painter how he wants the scene of his son's torture, Hieronimo refuses and bites off his own tongue. When
murder depicted, Hieronimo later tears the letters of given a knife to sharpen his ink pen to write down his story,
petitioners with his teeth and commiserates with another old Hieronimo instead murders the king's brother and then kills
man, Bazulto, whose son was also murdered. himself, ensuring that the united kingdoms of Spain and

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The Spanish Tragedy Study Guide Plot Summary 10

Portugal will have no heirs to the crown.

The play concludes as the Ghost of Andrea sums up the

sequences of murders, asking Revenge permission to act as
judge to portion out exactly where and how all his slain
enemies will spend their eternal punishments.

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The Spanish Tragedy Study Guide Plot Summary 11

Plot Diagram

Climax

7
Falling Action
6
Rising Action
5 8

4
9
3
Resolution
2
1

Introduction

7. Balthazar, Bel-Imperia, Lorenzo, and the duke are killed.

Introduction

1. Balthazar is captured.
Falling Action

8. Hieronimo takes his own life.

Rising Action

2. Bel-Imperia and Horatio become lovers.

Resolution
3. Horatio is murdered; Hieronimo discovers the murderer.
9. Spain and Portugal are without heirs.
4. Balthazar and Bel-Imperia are betrothed.

5. Isabella kills herself.

6. Hieronimo tries to meet with the king and plans a play.

Climax

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The Spanish Tragedy Study Guide Plot Summary 12

Timeline of Events

Spring 1580

Andrea is killed by Balthazar in battle.

Moments later

Balthazar is defeated by Horatio.

A day later

Horatio meets with Bel-Imperia.

A week later

Lorenzo learns Bel-Imperia and Horatio are lovers.

Evening of same day

Lorenzo and Balthazar kill Horatio.

Later that evening

Hieronimo discovers his dead son.

Next night

Pedringano kills Serberine.

Next day

Pedringano is executed.

A few days later

Bel-Imperia is betrothed to Balthazar.

Next evening

Castile, Lorenzo, Balthazar, Bel-Imperia and Hieronimo

die.

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The Spanish Tragedy Study Guide Scene Summaries 13

shakes their whips of steel, And poor Ixion turns an endless

c Scene Summaries wheel." He further describes to Revenge the horrific
punishments of usurers, wantons, murderers, and perjurers.
The ghost took neither the left nor the right path, but

Act 1, Scene 1 proceeded straight ahead along the path to the Elysian Fields
and the tower in which Pluto and Persephone hold court.

Upon gaining access to the king and queen of the underworld,

Summary the Ghost of Andrea presented on bended knee the passport
the judges had given him, and asked for conclusive judgment.
The Spanish Tragedy opens with a prologue to the action to This graceful gesture of chivalric humility pleased Persephone,
come, in which the Ghost of Andrea and Revenge appear who asked her dark lord permission to give Andrea his doom.
together. The Ghost of Andrea begins by reciting who he had Unable to resist her request, Pluto granted it with a kiss,
been in life: a courtier of modest station in the Spanish court whereupon Persephone whispered into the ear of Revenge,
and the chivalric lover of Bel-Imperia, a woman of higher rank. instructing Revenge to lead the Ghost of Andrea through "the
As a humble knight in the Spanish forces against the gates of horn" and show him a true vision. All at once, as the
Portuguese (also called Portingale) he fought with valor until he Ghost of Andrea concludes his account, he now finds himself
was killed by Balthazar, the Prince of Portugal. The Ghost together with his guide. Revenge replies that it is here that
explains to Revenge and the audience that he attempted to Andrea will witness the downfall of his murderer at the hands
find his rightful place in Hades, but could obtain no passport of his own love, Bel-Imperia, and that the two of them will serve
from Charon until his friend and fellow-knight, Horatio, had as Chorus for the tragedy as it unfolds before them.
performed his funeral rites. Finally allowed passage into Hades,
the Ghost of Andrea first approached the three judges Minos,
Rhadamanthus, and Aeacus, to obtain his passport and Analysis
assignment to his reward in the underworld. Minos first drew
up the "graven leaves of lottery" describing Andrea's life as How Revenge and the Ghost of Andrea enter the stage is not
having been true in love and war and implying that Andrea clear. However, it is likely—given stage conventions of the
must follow the right-hand path to reward instead of the left- time—that they entered by way of a trapdoor under the stage
hand path leading to the punishments of damnation. to indicate they have arrived from the underworld. In giving his
description of who he had been in life, the Ghost of Andrea is
The Ghost of Andrea goes on to say that the three judges not only providing Revenge with essential background
were unable to agree on which of the two separated realms of information, but also referring to the events of a play prequel to
reward would be most fitting for Andrea: lovers or warriors. The Spanish Comedy (now lost) with which Elizabethan
The Ghost of Andrea recites to Revenge how two of the three audiences of The Spanish Tragedy after 1600 would have been
judges—Aeacus and Rhadamanthus—conducted a brief debate familiar. The ghost's description of the underworld serves two
between them. On the basis that Andrea had been a true and purposes. One, by referring to classical descriptions of the
loyal chevalier to his ladylove, Aeacus argued that he be sent underworld and its occupants from Greco-Roman mythology,
to the pleasant abode of lovers. But in pointing out the fact that Homer's Iliad and Odyssey and Virgil's Aeneid (and possibly
he died in battle, Rhadamanthus declared for the realm of also Dante's Inferno), the Ghost of Andrea "proves" that he
fallen warriors, "Where wounded Hector lives in lasting pain, actually went there, instead of merely making it all up as a
And Achilles' Myrmidons do scour the plain." The deadlock was fiction. Two, a crossroads provides context in terms of
resolved when Minos ruled that the Ghost of Andrea be sent direction in the underworld. The left-hand (or sinister) path
along the middle path to the court of Pluto and Persephone for leads downward to where pagan classical characters such as
resolution. When he came to the crossroads on his way, the Ixion endure endless suffering. An added implication to the
Ghost of Andrea first looked along the right-hand path leading opposition of right- and left-handedness might also refer to
to the realms of warriors and lovers, which are strictly divided. one-on-one combat; anyone familiar with hand weapons would
Then the ghost looked along the left-hand path leading know that a left-handed swordsman of modest skill can
downward to the punishments of hell, "Where bloody Furies overcome a more skilled right-handed swordsman—a concept

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The Spanish Tragedy Study Guide Scene Summaries 14

that recurs throughout the play. However, the right-hand path sides, starting with the face-off between the equally equipped
leading upward indicates a pagan view of reward in the divided squadrons of the Spanish and the Portuguese. He describes
pleasures of fighting (Mars) and lovemaking (Venus). how the brother of the Portuguese Viceroy, Don Pedro, fought
toe-to-toe with Don Rogero, his counterpart in the Spanish
Opposition of left (evil) and right (virtue) were also symbolically Army, resulting in Don Rogero putting a stop to the Portuguese
represented in morality plays during the Middle Ages and the advance. Working his way down through the ranks on both
Renaissance, in which a human soul was enticed to act upon sides, the general comes last to the foot soldiers, who, along
the advice of Satan whispering in his left ear, while an Angel of with the horses, seem to have gotten the worst of it. The
the Lord (or Virtue) whispered into his right ear. general explains that the battle wore on for three hours with no
sign of advantage on either side until the fight between the
The midway path straight ahead at the crossroads of the
knight Andrea and Balthazar, Prince of Portugal, in which
underworld leading toward divine justice foreshadows the
Balthazar killed Andrea. But while Balthazar was boasting over
mediation and compromises between opposites running
Andrea's corpse, Horatio, Deputy to the Knight Marshall of the
throughout the play. The playwright immediately establishes
Spanish forces, took on the dark prince, unhorsed him, and
parallel opposition in the very first scene in the characters of
took him prisoner. At the sight of their prince captured, the
the Ghost of Andrea and Revenge to act as a Chorus. This
cowardly Portuguese fled, routed by the Spanish.
device invokes the Senecan tragic form and redirects the force
of witness toward the slow workings of justice that fall straight Very pleased with this account, the King of Spain gives the
and "midway" between justice on Earth and justice by divine general a gold chain and asks him if peace has been secured.
agency. The general answers that a conditional peace has been
offered and gives the king a paper to that effect; that is, the
Both the "graven leaves of lottery" and the "passport" refer to
Viceroy of Portugal has written a solemn vow of homage and
the power of the written word that will, as the play progresses,
payment of tribute without fail. Turning to his trusted Knight
disintegrate. The interchangeable name of Portugal/Portingale
Marshall Hieronimo, the king invites him to a party, praising
was probably used because the more uneducated
Hieronimo's son Horatio for having turned the tide of battle.
Elizabethans in the audience were familiar with the term
But, before they leave, trumpets announce a parade of arms
Portingale in reference to Portugal.
and prisoners before the King of Spain. Balthazar appears as a
prisoner not only of Horatio, but also of the king's nephew,
Lorenzo. When the king asks them to parade again before him,
Act 1, Scene 2 he dismisses everyone with coin rewards and asks Balthazar
and his two guards to remain.

Summary Promising humane treatment at the hands of the Spanish, and

pleased with the noble answer Balthazar gives him, the king
At the Spanish camp on the field of battle, the King of Spain asks the prince which one of the two of his guards captured
arrives with his retinue to ask the general of the Spanish Army him. This occasions an argument between Horatio and
which side has emerged victorious. When told by the general Lorenzo, in which it is clear that Horatio carried out the action,
that Spain has triumphed over the Portuguese forces, the king while Lorenzo took advantage of the opportunity to seize both
and his brother the Duke of Castile rejoice, as the duke the horse and lance of the fallen prince; a point which
observes in Latin that, "Victory is the sister of true justice." Hieronimo makes mention to the king. The king again asks
Ignoring the general's comment on the loss of life sustained by Balthazar which one of the two made him yield. Balthazar
both sides that so dearly purchased the win, the king is most answers in parallel phrases that it was both the kindness of
eager to secure tribute and homage from the vanquished Horatio and the threats of Lorenzo that caused him to yield.
Portuguese and get on with making awards to the heroic The king has to make a ruling. Since Lorenzo took horse and
warriors of the Spanish forces. lance, they are his to keep, but Horatio will be paid the ransom
money. And, although Balthazar clearly indicates that he would
The king presses the general to relate the points of battle. In prefer to be in Horatio's keeping, the king gives charge of the
his description, the general parallels the rival forces of both prisoner to his nephew, since his "estate best fitteth such a

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The Spanish Tragedy Study Guide Scene Summaries 15

guest." the king's nephew, enjoys the privileges of rank that allow him
to assume the appearance of valor supported by the flattery of
underlings, while Horatio must actually demonstrate his valor.
Analysis
The privileges of rank have had similar effects on both
It is in this very first scene that various characters define Balthazar and Lorenzo, which inclines them to bond later in the
themselves in word and deed. Almost as soon as he speaks, it play. Just as Balthazar had boasted loudly over the body of
is clear that uppermost in the King of Spain's mind is Andrea (which evidently distracted him so much that Horatio
securement of tribute and homage from the vanquished was able to overcome him), so Lorenzo also bullied the
Portuguese, as he brushes aside or ignores the more morbid defeated Balthazar. This immature behavior on the battlefield
commentaries of the general in describing details of the battle. is revealed in stark contrast to the conscientious military
The king is also most interested in getting on with the public professionalism of the general and Horatio. The proud and
relations opportunities inherent in the parade of the army and threatening words of Lorenzo and Balthazar serve to drown
prisoners. He wants to make sure everyone sees him as a out their own fears they might not be as heroic as they would
generous monarch in giving the general a gold chain, in like to believe. And just as the King of Spain needs the
praising the valor of Horatio for turning the tide of battle, and in reassuring support of his court, so too will Balthazar and
offering the captive prince a comfortable captivity while Lorenzo come to need each other to plot and carry out the
waiting for his ransom to be paid. Desiring to be viewed as murder of Horatio. In contrast, both Horatio and his father
magnanimous, the King of Spain is eager to dispense with Hieronimo act and speak their own truths and let their own
unpleasant details and get on with merging Portugal with Spain actions/consequences support them. Horatio does this by
under the unity of his supreme rank and crown at a victory honoring his fallen friend Andrea and in his faith in love for Bel-
feast. Imperia; Hieronimo in seeking, first, justice and then revenge
when justice is not forthcoming.
A skilled politician, the king embeds a reminder to both Horatio
and Hieronimo of their lower rank even in his warm praise for
their valor. While reminding his Knight Marshall that favoring a Act 1, Scene 3
family member would look bad, the king does not hesitate to
favor his own nephew to please his brother, the Duke of
Castile—despite the fact it is obvious (as Hieronimo gently
observes) Lorenzo merely seized the trappings (horse and
Summary
lance) of valor, while Horatio did the actual fighting to
At the Portuguese court, the Viceroy of Portugal enters with
overcome Balthazar. In other words, the restrictions against
his attendants to ask if the Ambassador of Portugal has left for
nepotism do not apply to the king. However, as a faithful
Spain with the tribute payment. His courtier Alexandro replies
courtier, Hieronimo responds to the king's hypocrisy with
that the ambassador left two days ago. The viceroy is troubled
deference and respect, saying only that he is proud of his son
by the delay and lavishly laments how Fortune has turned him
Horatio within the context of having brought glory to the king,
to his lowest misery. In a fit of self-pity, the viceroy throws
whom both father and son serve with complete loyalty.
himself on the ground, and removes his crown, saying that he

The first exchange between Horatio and Lorenzo reveals cannot fall any lower and Fortune (blind and deaf) cannot do

parallels of their opposing characters, to which they will adhere anything more to him. While he lies on the floor, the viceroy

throughout the play. Once Balthazar has been subdued, indulges in reciting a chain of actions and consequences

Horatio treats his noble prisoner with courtesy and respect—a leading him to this fallen state. In this recitation it is clear the

feature appreciated by the defeated Balthazar. Horatio's deeds viceroy is already mourning the supposed death of his son,

and words speak for his good character on the battlefield. Balthazar, and to every hope Alexandro offers, he provides a

Lorenzo, in contrast, demonstrates not only cowardice in countering despair.

seizing the trappings of valor, but an ungracious tendency

Even though his faithful courtier Alexandro informs him that his
toward bullying in loudly threatening the captive. The
son survived the battle and was taken prisoner, the viceroy
difference between the two young men is clear. Lorenzo, as

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The Spanish Tragedy Study Guide Scene Summaries 16

assumes the Spanish will ruthlessly kill him. But the false of the time, Dr. Faustus (c. 1588), so audiences of all ranks
courtier Villuppo tells the viceroy he saw Alexandro shoot were very familiar with this story.
Balthazar in the back during the battle, offering as motive
Alexandro's ambitions toward the viceroy's crown, and stating By contrast, Fortuna turns her giant wheel, which corresponds

that had Alexandro not committed such a cowardly murder, the not only to a cart wheel, but also to the water wheels of English

Portuguese would have won. This explanation of why the mills grinding grain. Ambitious humans are attached to the rim

Portuguese were defeated seems to feed the viceroy's self- and turned (usually clockwise, but sometimes

pity over having lost a battle already predetermined by Fate, counterclockwise) first upward to the highest station, and then

and Alexandro easily becomes the scapegoat. The viceroy downward again to the ground. According to Roman Stoics,

recovers his crown, stands up, and declares he will put off whom educated Elizabethans admired, the only way to avoid

divesting himself of his station until after Alexandro has been this rise (hope) and fall (despair) is to find a position on the

executed by hanging and disembowelment. The viceroy wheel's spoke, or center of gravity to forego both fame and

promises to reward Villuppo for exposing Alexandro's motives, disgrace, since the one leads to the other on the rim.

while Villuppo concludes the scene with pride that his lies have Sometimes, Fortuna is depicted as a skeleton turning the

put him in a favorable position to not only get rid of Alexandro wheel, reminding the viewer that human life never remains in

as a possible rival to advancement, but to secure the one condition forever; eventually all fall in death, returning to

Portuguese crown for himself. dust and ashes. Recurring sieges of the plague reminded
Londoners of how swiftly and indiscriminately death could
strike; the last being the Great Plague of London in 1665–66.
Analysis As the play progresses, the false Portuguese courtier Villuppo
is mirrored in the duplicitous Spanish courtier Lorenzo, while
This scene of The Spanish Tragedy is filled with references
the true and honorable Alexandro has his counterpart in
implicit in the Tarot deck of cards and the agency of random
Horatio, even though unlike Horatio, Alexandro survives. While
chance, as opposed to directly determined action by human
the Spanish king maintains his balance in a show of generosity
beings and their consequences. In this, the viceroy echoes his
and unity, here the viceroy quickly falls to the floor and loses
son Balthazar's earlier reference to having had to play a "bad
his crown before standing up and recovering both balance on
hand at cards," blaming Fortuna (Fate) and Nemesis (Justice)
his feet and crown, ostensibly to make sure justice is done.
for his misery. These figures are both female and blind,
representing the ever-changing, impartial circumstances of all
earthly conditions—king to commoner. Both Nemesis and
Fortuna appear interchangeably on Tarot cards (which made
Act 1, Scene 4
their first documented appearance in Europe sometime around
the mid-1400s).
Summary
In medieval and Renaissance iconography, Nemesis holds in
her hand a balance scale and stands on a rolling stone (likely Horatio and Bel-Imperia meet at Lorenzo's house, whereupon
referring to the balancing act a female acrobat might perform Bel-Imperia asks him to describe the death of her lover, the
at a court entertainment). In Greek mythology, Nemesis (Eris, knight Andrea. Horatio explains how deeply saddened he was
goddess of discord) was not invited to the wedding feast of at his close friend's death, and regales her with a description of
Achilles's divine mother Thetis and his earthly father, King the battle, praising Andrea's nobility and courage. But, as he
Peleus. She crashed the party anyway and threw in a golden explains, Nemesis proved envious of Andrea's praise and
apple labeled "to the most beautiful." Three goddesses—Hera, worth, and allowed a group of lowly Portuguese halberdiers to
Aphrodite, and Athena—claimed the apple, then appointed cut down Bel-Imperia's noble lover so that the Portuguese
Paris of Troy to decide. Paris found himself most tempted by prince, Balthazar, could finish him off. Bel-Imperia expresses
Aphrodite's bribe of having the beautiful Helen, Menelaus's her wish that Horatio had immediately avenged Andrea by
wife, fall in love and run away with him to his home in Troy, thus killing Balthazar before asking for Andrea's remains. Horatio
starting the Trojan War. It may be mentioned that Helen of explains that preserving her dead lover's remains for proper
Troy makes an appearance in Kit Marlowe's very popular play

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The Spanish Tragedy Study Guide Scene Summaries 17

burial was foremost in his mind. Instead of attacking Balthazar,

which explains how Lorenzo got hold of the prisoner instead,
Analysis
he carried the fatally wounded Andrea to his own tent. Seeing
In this scene the character of Bel-Imperia is revealed as
that nothing could save Andrea, he found a scarf on his dead
strong-willed and "imperious" to quickly get whatever it is she
friend's arm, which he now carries in remembrance. Bel-
wants. Tales of daring and courage in battle are always a good
Imperia tells Horatio that she had given Andrea that scarf as
way to get young women to notice a young man, and Bel-
her favor and bids him to keep it, telling him "she will be Don
Imperia is no exception. By praising her dead lover and knight,
Horatio's thankful friend."
Horatio scores points with her for being gracious, noble, and
When he leaves her, Bel-Imperia muses that Horatio has found true to his friendship with Andrea. Rather than linger long
her favor, and correspondingly hardens her heart against enough to take revenge on Balthazar, his concern was for his
Balthazar, whom she evidently has already met, and who has fallen friend, from whom he took Bel-Imperia's scarf. This she
fallen in love with her at first sight. Balthazar and Lorenzo finds endearing. Having enjoyed the presence of a knight-lover
enter, whereupon Bel-Imperia and Balthazar launch into a sworn to answer her every whim has been halted with Andrea's
close dialogue of wits, with Balthazar attempting without death; perhaps she is thinking to resume the uneven romance
success to get Bel-Imperia to respond to his amorous (which places a lady of high station in a position of power she
advances. It is clear she will have nothing to do with the killer of would not have in a marriage to a lord) with the next best
her beloved Andrea, and they argue until Lorenzo puts a stop suitor, Horatio. She signals that any advance he might wish to
to their banter. Flustered, Bel-Imperia abruptly turns on her take would be welcomed when he tries to return Andrea's
heel to leave and drops a glove. Horatio notices it as he scarf, and even more so when he tries to return her dropped
reenters the scene and gallantly attempts to return it to her, glove to her and she urges him to keep it.
but she tells him to keep it, which he does, tucking the lady's
Presenting a Dumb Show for entertainment was common at
token against his breast. This exchange of warmth between
court, and invariably such shows were aimed at flattering the
Horatio and Bel-Imperia makes Balthazar unhappy, but
highest ranking individual present—in this case, the King of
Lorenzo reminds his newfound friend of the fickle nature of
Spain. This Hieronimo accomplishes by presenting the King of
women.
Spain with the three coats of arms, or scutcheons.
Horatio announces that the Ambassador of Portugal has
The King of Spain's assignment to be his cupbearer is both an
arrived, and everyone is to attend a feast in his honor. Showing
honor and a reminder to Horatio that he and his father are of
off for the benefit of the ambassador, the King of Spain
lower rank than the King of Spain's brother, the prisoner
demonstrates that not only is Balthazar very much alive and
Balthazar, Lorenzo the king's nephew, and the Ambassador of
well, but also comfortably housed with his own brother and
Portugal. Neither Horatio nor his father Hieronimo are invited
nephew. As they are seated, the king gives Horatio the honor
to sit at the table with them. Along with Swords, Wands, and
to "wait ... upon our cup." The king reiterates the union of Spain
Pentacles, the Cup is an iconic image of the Minor Arcana in
and Portugal as one and the same under his monarchy, then
the Tarot deck.
asks after Hieronimo. At this point, Hieronimo enters with a
drum, three armed knights, and three kings. He presents a
Dumb Show (action without words) during which the three
knights take the three kings captive and remove their crowns.
Act 1, Scene 5
The king likes what he sees, but asks Hieronimo the meaning.
Hieronimo responds that each one of the three corresponds to
an English triumph over Portugal or Spain. As he recites these Summary
victories, he gives the King of Spain three scutcheons, the
shields of triumphant Gloucester, Kent/York, and Lancaster. At an undetermined location, The Ghost of Andrea and
Revenge comment on the events of the play so far. The Ghost
of Andrea expresses his outrage that his murderer sits in
honor with the King of Spain at a feast, while he himself has
been deprived of life and love. Revenge urges the Ghost of

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The Spanish Tragedy Study Guide Scene Summaries 18

Andrea to understand that before everything is done, this whereupon Lorenzo pulls out the "stick," threatening
temporary scene of pleasantry at the expense of justice will Pedringano with his sword. Pedringano tries to wiggle out of
ultimately be turned upside down. this with carefully chosen words until Lorenzo is at the point of
wanting to kill him. Finally, Pedringano admits that Bel-Imperia
loves Horatio, to whom she has sent love letters via
Analysis Pedringano. Lorenzo is astonished, but swears that if
Pedringano is lying, he will die. Perceiving that his life depends
It is implied that Revenge reminds the Ghost of Andrea it is more upon serving Lorenzo than Bel-Imperia, Pedringano
acceptable to the workings of vengeance that those who are swears to keep the information secret, and to let Lorenzo
to feel its wrath in the end must first enjoy themselves as much know the next time the two lovers meet, so he and Balthazar
as possible, so that when they are thrust into abject misery, may see for themselves how the romance is warming up.
they can be made to feel the greatest loss. In other words, the Balthazar indulges in another round of rhetorical musing, in
larger the wheel rim they grasp to be lifted the highest, the which he concludes he will either "lose [his] life, or win [his]
greater the fall will be, or as would be the case of a giant water love;" there is no middle ground of mediation for the lovesick
wheel powering a grain mill, the fall would be to drown them fellow. Lorenzo concludes the scene by assuring Balthazar
under river water. that once Horatio is removed, Balthazar will certainly win Bel-
Imperia's favor.

Act 2, Scene 1
Analysis

Summary It is evident that Balthazar has come to recognize a fellow-

creature in Lorenzo, who, with flattery, entertainment, and
good food, has managed to get Balthazar to forget Horatio's
At Lorenzo's home, Lorenzo has been keeping constant
leniency and Lorenzo's bullying on the battlefield. Lorenzo, who
company with Balthazar with the intent of keeping alive the
doesn't know the heart of his own sister and seriously
flames of passion Balthazar feels toward Lorenzo's beautiful
underestimates her resolve, likely figures that a lover in the
sister, Bel-Imperia. Presuming to know women, Lorenzo
flesh would certainly be worth more to her than two ghosts
advises Balthazar that in time she will surrender, using poetic
that can only figure in her memory. The permanent removal of
language to compare the wayward emotions of women to
Horatio would logically place his newfound "friend" and
various forces of nature that ultimately must succumb to
companion, Balthazar, in the favorable position of being her
superior force. Balthazar thinks it over out loud, trying out
last and only choice for love. The Italian phrase Lorenzo uses
different scenarios in which he could express his love in a way
to summon Pedringano may indicate that Lorenzo leans
she might accept, only to think that each possibility must end in
toward the philosophy of leadership laid down by Machiavelli,
failure. Lorenzo is determined to find a remedy for his sister's
and his subsequent actions and rationalizations for using
stubbornness and considers she may perhaps have another
underlings to advance his own agenda echoes Machiavelli's
lover—in which case, as Lorenzo reasons, all they would have
famous "the ends justify the means." Certainly, most educated
to do is remove him. In order to ascertain whether or not this
Elizabethans (including the queen, who was not only fluent in
might be the case, Lorenzo summons Bel-Imperia's servant,
Italian, but also favored the dances and fashions of the Italians,
Pedringano, for questioning.
styling herself as an "Italian Prince") were very familiar with
Lorenzo starts out with the Machiavellian "carrot," reminding Machiavelli's writings. And for those not so well-educated in
Pedringano that he has already kept the rascally servant from the audiences, the physical and verbal interplay between the
being punished by the Duke of Castile for having aided the clever, scapegrace servant (with an Italian-sounding name, no
tryst between Andrea and Bel-Imperia. Added to this, Lorenzo less) and master would recall the Italian commedia dell arte
promises to ice the cake with coin and deed to lands if antics commonly seen onstage at the time.
Pedringano will tell the truth: does Bel-Imperia have a new
lover? Reluctant to betray his mistress, Pedringano demurs,

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The Spanish Tragedy Study Guide Scene Summaries 19

Act 2, Scene 2 Act 2, Scene 3

Summary Summary
At the Duke of Castile's home, Horatio and Bel-Imperia meet to This scene likely takes place at the Spanish court. The King of
exchange words of love. Pedringano points the scene out to Spain, his brother the Duke of Castile, and the Ambassador of
Lorenzo and Balthazar, and all three hide. Bel-Imperia takes Portugal enter with their nobles and attendants, deep in
the initiative—her true knight Horatio must play the part of the discussion over the idea of having Castile's daughter, Bel-
humble lover whose only desire is to serve her every need and Imperia, betrothed to Balthazar. The duke admits she has been
pleasure at her command. She begins by comparing herself to playing pretty coy, but he thinks she will surely come round to
a storm-tossed ship, assuring Horatio that possession of his the match in time; at the very least, she is expected to be a
love is her only port of safety. With equal wit of statement by dutiful daughter and marry whomever her father chooses. This
Bel-Imperia and response by Horatio, the formal exchange satisfies the king, and he tells the ambassador to suggest the
between them turns to terms of war (Mars) and love (Venus) match to the viceroy, as it would further bind Spain and
as if the wooing were a battle, with kisses and sweet words as Portugal. To sweeten the deal, the king states that not only will
their "weapons." her dowry be "large and liberal," but that she is half-heir to her
father's lands. In addition, once married, the tribute from
When Horatio asks Bel-Imperia where the battle between them Portugal to Spain would be released. If the happy couple were
should commence, she suggests the privacy of Hieronimo's to have a son, the King of Spain, who has no son of his own,
garden at the time of evening Vespers until the nightingale declares he will make Balthazar his heir. This all sounds pretty
sings, and adds that every hour passing until their tryst will good to the ambassador, who states that he will do his best to
seem a year to her. Interjected between this loving banter, the persuade the viceroy to the match. But before Balthazar can
audience hears both Lorenzo and Balthazar swear death and go free, the king reminds the ambassador that the ransom
destruction. Overhearing the entire loving exchange, Balthazar must be paid to Horatio; the ambassador responds that the
can barely contain his fury, while Lorenzo's response is ransom money is on its way.
increased hatred added to his initial envy of Horatio. The two
of them can barely keep quiet enough to avoid being detected.
Analysis
Analysis The Duke of Castile has, at this point, no idea that his daughter
has taken up another romantic "fling" with a knight of lower
Vesper prayers were signaled in both Anglican and Catholic rank. Given that he has already expressed his severe
service by the ringing of bells at sunset, at which time laborers displeasure over her dalliances with Andrea, he is quite certain
offered prayers before leaving the fields at night. Bel-Imperia she should be more than willing to obey her father's wishes.
evidently intends to stay there pretty much all night with him.
She mentions the nightingale, a bird reputed to sing sweetly While the king can order inheritances at his command, the idea
before the sun comes up, "shall carol us asleep." Bel-Imperia's of a daughter receiving half her father's estate during this
comparison of herself to a ship seeking safe harbor is echoed period in England would have been most unusual. It can only be
at the end of the play, when the viceroy begs to be tied with speculated how Lorenzo will take it that his natural share as
the corpse of his dead son to the mast of a ship and set adrift; only son would have to be shared equally with his sister.
such a terrible fate would, to him, be more endurable than living
without his son. The close connection between the battles of
love and war will continue between the lovers and indirectly Act 2, Scene 4
reference the geography of the underworld as described by
the Ghost of Andrea, in which the realms of warriors and lovers
are proximate but entirely separate.

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The Spanish Tragedy Study Guide Scene Summaries 20

Fortuna's wheel, especially when it is Death who turns it.

Summary
Pedringano escorts Bel-Imperia safely to Hieronimo's garden,
where Horatio awaits her. It is clear she trusts Pedringano
Act 2, Scene 5
completely, ordering him to stand guard while she enjoys
Horatio's company. Horatio tries to ease Bel-Imperia's worries
by telling her they are hidden in the bower; it is evidently a Summary
moonless night and even the stars aren't shining. The lovers
continue their verbal banter in poetic formality, invoking Roman Hieronimo enters his garden with a sword and torch, looking
classical deities such as Cupid, Venus, and Mars. No sooner for the person who cried out his name and roused him from his
have they vowed to die in each other's arms than Pedringano bed. He discovers the body of a man hanging from a fruit tree;
returns, leading Balthazar, Lorenzo, and Serberine masked and at first he thinks the murderers intend that he shall be blamed.
in disguise. Ordering Balthazar to constrain Bel-Imperia, He cuts the body down and recognizes his son. Horrified,
Lorenzo and the others fall upon Horatio, hanging him from a Hieronimo launches into loud and extended laments, which
fruit tree in the garden and then viciously stabbing him. summon his wife Isabella to his side. The parents grieve
Lorenzo tells Horatio these are the fruits of his love. Bel- together.
Imperia evidently recognizes the voices of both Balthazar and
Addition 1 is inserted after line 45. In it, neither Isabella nor
her brother Lorenzo, as she pleads that Horatio was not at
Hieronimo recognize their son, and wonder how some odd man
fault—she loved him, but he did not love her. They ignore her
here murdered got their son's clothing. Not yet realizing the
and continue with their bloody business. Bel-Imperia cries out
dead man is Horatio, Hieronimo sends Jacques to Lorenzo's
to Hieronimo for help before they muffle her screams and
house, where Horatio must be late partying. Then he asks the
carry her off.
servant Pedro if he recognizes the hanged man, to which the
servant quickly responds that it is Horatio. Hearing this,
Hieronimo laughs and says that he too was at first deceived,
Analysis
because the dead man is certainly wearing Horatio's clothes.
Wavering between truth and illusion (dream), Isabella is the
The sighting of a safe harbor in a storm meant survival for
first one to recognize their son. Finally, Hieronimo looks again
mariners who navigated the oceans in sailing ships,
at the man's face in torchlight and cannot deny that this is no
which—given a galleon's size of barely 90 feet stem to
strange man, but his own son. He takes the bloodied scarf
stern—were often lost at sea. The poetic exchange by which
from Horatio's body, swearing he will not give it up until his
Horatio compares their love to a vine and an elm tree presents
death has been avenged. Hieronimo is about to fall on his own
an ambiguity as to whether the elm tree supports the vine, or
sword, while asking for poison that will give him quick release
(as was believed in the mythology of Venus) the vine held up
from his pain. However, he eventually throws the sword aside
the elm tree in its loving embrace even after it had died. In
and puts off death so that he can avenge the murder before
comparing himself to the vine and Bel-Imperia to the elm tree,
helping to bear the body back into the house.
Horatio instead claims the reverse will happen; that is, the vine
will pull the elm in its embrace down to the ground to gain "the
little death" of sexual union. Lorenzo's taunt to the dying
Horatio that he can now enjoy the fruits of love plays with the
Analysis
well-known image of Christ's passion on the crucifix tree
The laments in this scene, specifically those in Latin with which
corresponding to a fruit tree, which bears the fruits of His
Hieronimo concludes the scene, are evidently a collection of
peerless love for man. Another Christian symbol of the tree is
classical "tags" and snippets of the playwright's own poetic
present in the Garden of Gethsemane. The tree is not only the
compositions to fit Hieronimo and Isabella's extreme state of
signifier of resurrection and redemption. When a man is
mind. Calling for a quick-acting poison while at the same time
hanged, he is high on the gallows; but when dead, the rope is
making as if to fall upon his own sword shows that at least two
cut and his body falls to the ground. This high-to-low play of
means of killing had to be employed to ensure success. So, just
words also references the coming-up and going-down of

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The Spanish Tragedy Study Guide Scene Summaries 21

as in the previous scene the murderers not only hang Horatio

but stab him repeatedly to guarantee he dies, here Hieronimo Act 3, Scene 1
asks for poison in case his sword doesn't do the job. This also
occurs in Hamlet (Act 5, Scene 2) in which the dying prince
leaps up to the throne with the poisoned sword to kill his uncle Summary
and then, to make sure he dies, also pours the poisoned wine
down his throat. At the Portuguese court, the Viceroy of Portugal continues to
bewail the wheel of chance that has lost him both son and the
Isabella reiterates the slow but irrevocable movement of line of succession. The evil Villuppo has continued to feed the
justice in terms similar to those Revenge has made to the impression that Alexandro killed Balthazar because of excess
Ghost of Andrea: "Time is the author both of truth and right, ambition, which in reality has motivated Villuppo to get rid of
And time will bring this treachery to light." Biblical opposites of his rival. Weary of Villuppo's words, the viceroy determines that
light and dark will continue to both obscure and reveal the it is time for Alexandro's execution by burning at the stake.
remaining events of the play. Alexandro protests his innocence, but no one believes him until
the Ambassador of Portugal enters to halt the proceedings,
immediately announcing that not only is Balthazar alive, but is
Act 2, Scene 6 being treated well and honored in the Spanish court despite his
captivity. To that effect, the ambassador hands to the viceroy
letters from the King of Spain, and the viceroy reads that the
Summary tribute has been received and peace is assured. At once, the
viceroy frees Alexandro and rounds on the wicked Villuppo,
At an undetermined location, the Ghost of Andrea and who confesses he was motivated by his own ambitions. As
Revenge bracket the events revealed in Act 2. The Ghost of Villuppo leaves to his punishment, Alexandro is invited to keep
Andrea asks Revenge if the whole point of this display is only the viceroy company to celebrate the good news.
to increase his suffering; that his beloved Bel-Imperia is so
abused and his best friend is murdered. Revenge mildly
answers that it isn't a good idea to cut the corn while it is still Analysis
green, and that in the appropriate fullness of time, Balthazar
will reap his just deserts. Travel was slow in the 1500s. The 361-mile distance between
Lisbon and Madrid (or possibly Seville, where the Spanish
court sometimes resided) currently takes about six hours to
Analysis complete; a carriage and team of horses could cover about 50
miles in 8–12 hours on good roads, including stops to rest and
The "corn" referred to by Revenge is probably not corn from eat. But roads were far from good in those days. This could
the New World, but rather barleycorn. The English folk harvest have meant that the ambassador and his retinue probably took
song John Barleycorn describes how the grain is first buried in at least 10 days one way. Add to that the trip he made from
the ground, then rises and ripens before being cut by the Portugal to Spain in the first place with the letter of peace from
scythe of the harvester and beaten to ferment into beer, which the viceroy to the king, and then spending enough time there
in turn "lays low" the man who gets drunk on it. The allegory of to work out a marriage proposal before traveling back with it to
death and resurrection connects with biblical references to the viceroy means that the viceroy had at least a good month
Christ. The earliest recorded version of the song was or so to worry about the fate of his son.
published in 1568, but it is certain the song was known and part
When the viceroy refuses to listen to Alexandro's pleas of
of English culture long before then.
innocence, Alexandro appeals to heaven's ultimate resolution.
In a stroke of good timing, he is saved from being burned at the
stake by the arrival of the ambassador, which suggests that
although divine agency did not save Horatio, it must have
saved Alexandro.

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The Spanish Tragedy Study Guide Scene Summaries 22

Act 3, Scene 2 Analysis

Hieronimo's opening lament is a translation of lines from a love
poem by Petrarch, yet again bringing close the avenger's
Summary passion to that of the lover's. The educated members in the
audience would have been sufficiently familiar with the poem
This scene is assumed to take place outside Lorenzo's house,
to appreciate how appropriate it was for the playwright to
probably sometime the next day, given Pedringano's comment
place it in Hieronimo's speech.
that the murder had been "so lately done." Hieronimo is pacing
back and forth, mourning his son in rhetorically poetic The mistrust Hieronimo has in the veracity of Bel-Imperia's
elegance and working himself up into a state of vengeance. He letter refers to suspicion of women in general, and certainly of
begs all agencies of any power to send him a clue on how to women acting onstage, an idea dating to Roman times. Since
begin. At that very instant, a letter written in red ink drops at one can never believe what a woman says or how she acts, he
his feet addressed to him. Although Bel-Imperia has been will require verification from a man before he will believe the
locked up in her room and denied pen and ink, she manages to truth of what she has written in blood. Bel-Imperia's note to
get some paper, prick her finger, and uses her own blood to Hieronimo parallels the bloody significance of the scarf, which
write a note to Hieronimo, naming her brother and Balthazar as first has been dyed red by the blood of Andrea and now also
the murderers. Hieronimo reasonably questions why she would with the blood of Horatio. In any case, it is blood rather than ink
implicate her own brother. The letter raises suspicions, but that cries out for justice through an act of bloody revenge.
does not definitively convince Hieronimo. He is going to need
proof, and it could be a trap designed to dishonor him and ruin
his good reputation if he should act against Lorenzo and
Balthazar on the basis of false evidence.
Act 3, Scene 3
He hopes to talk with Bel-Imperia directly, but Lorenzo enters
and explains that her father has locked her up "upon some Summary
disgrace." He kindly offers to convey a message to her if
Hieronimo will give it to him, but Hieronimo declines. Addition 2 In Saint Luigi's Park at eight o'clock that night, Pedringano
is inserted after line 66, elaborating on the exchange between enters with a pistol in hand, calling on both the weapon and
Hieronimo and Lorenzo in such a way that Lorenzo begins to Fortune to not fail him now. Three watchmen enter, somewhat
suspect that Hieronimo knows something. When Hieronimo concerned that the king has ordered them to patrol the park so
leaves the scene, Lorenzo calls Pedringano to ask if he sees close to the king's brother's house. Serberine waits, probably
what Lorenzo sees; a hint of suspicion. Lorenzo leaps to the hiding in the shadows until they pass by. When they are gone,
thought that their coconspirator Serberine must have informed Pedringano steps out, telling himself to be of good courage
Hieronimo. Promising Pedringano more gold, Lorenzo tells the and get the murder over with. Confronting Serberine,
servant to meet Serberine in Saint Luigi's Park located behind Pedringano shoots him, but before he can escape, the
the house: Lorenzo will lure Serberine there. Pedringano watchmen, hearing the shot, reenter. It doesn't take them long
agrees and leaves. Lorenzo sends the message to Serberine to find the dead man and capture Pedringano. Although he
via Jerome, a page, making sure the time of the meeting is to struggles and blusters angrily, the watchmen are determined
be eight o'clock that evening. Once Jerome has left, Lorenzo to take both the body and murderer to Hieronimo's house.
maps out a Machiavellian rationalization that the lives of
underlings are entirely expendable in order to preserve his own
reputation, despite his actual guilt. Analysis
To patrol and guard are legally defined as the duties of a
watchman; however, they also know that the Duke of Castile
had his own guards and security measures in place in his own
house near the park. Serberine seems unaware of the cardinal

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The Spanish Tragedy Study Guide Scene Summaries 23

rule of conspirators is that the fewer of them that survive the later in the play further tightens the proverbial rope around
crime, the greater the likelihood is that the secret can be Balthazar's neck to be pulled by his soon-to-be brother-in-law
kept—a point which Pedringano himself will soon realize. Lorenzo.

Act 3, Scene 4 Act 3, Scene 5

Summary Summary
Early the next morning at Lorenzo's house, Balthazar finds his At an undetermined location somewhere between Lorenzo's
friend and host Lorenzo pacing and worried that their role in house and the prison, the page with the box in hand stops and
the murder of Horatio has become known to Hieronimo. In the opens it to see that it is empty. He briefly debates whether or
midst of Lorenzo's doubts, the page enters with news that not to carry out the deception, but concludes that if he doesn't,
Serberine has been killed and Pedringano apprehended for the although he feels sorry for Pedringano, it is certain he would be
crime. Both Balthazar and Lorenzo make a show of marveling killed for disobeying his lord Lorenzo. Besides, if his life isn't on
that Pedringano would do such a thing, but Lorenzo considers the line, the page estimates he will be entertained by pointing
to himself that Pedringano's bad luck in being arrested works at the empty box so that Pedringano will put on a show of
conveniently into his plan to erase his own tracks. A mockery.
messenger comes to Lorenzo with a letter to him from the
imprisoned Pedringano, asking for Lorenzo's help to save him
from the hangman's noose. Lorenzo summons his page and Analysis
gives him a box with the instructions that he is to show
Pedringano the box without opening it and tell him that the Kyd makes reference in this scene to Pandora's box. The page
pardon that will save him is in the box. The page leaves with compares himself to women, who, like lowly servants such as
the box, and Lorenzo expresses his hopes that this will be the himself, often have too much idle time on their hands and are
end of the matter. prone to allow curiosity to get the better of them when
confronted with a mystery or secret.

Analysis
Act 3, Scene 6
Audiences of the time would pick up on the comparison of
Pedringano to a trapped bird. The means of capture was to
place sticky latex (bird lime) on a twig so that a bird's grasping
Summary
talons become glued to the branch and is unable to fly away.

At the site of Pedringano's execution, Hieronimo, in his

Balthazar and Lorenzo realize a speedy end to Pedringano will
peacetime role of adjudicator, enters with his deputy.
help cover the truth of Horatio's murder; the two of them are
Hieronimo laments to his deputy that they are there to carry
not only arrogant, but clever opportunists as well. Lorenzo
out justice for others, while there is no agency to see to his
sees in this an easy way to further distance himself from both
own injustices. The deputy reminds Hieronimo of his current
Horatio's and Serberine's murders, in that the captured
duty to be performed. The hangman, officers, and Pedringano
Pedringano will surely also lose his life and be silenced. This
enter with the page, who carries the box and stands to one
leaves only himself and Balthazar who know the truth,
side. Pedringano manages to tell the page how relieved he is to
conveniently placing Lorenzo in a position of power over
see him with the box containing his pardon.
Balthazar. Lorenzo will have to keep the prince very close so
that he can threaten blackmail if Balthazar wavers for any
The proceedings begin with Hieronimo requiring the prisoner
reason. The whole idea that his sister is to marry Balthazar
to stand forward, which Pedringano does with swagger,

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The Spanish Tragedy Study Guide Scene Summaries 24

unrepentantly stating that he did murder Serberine. Pedringano was falsely accused and hanged. The hangman begs
acts as if the whole spectacle was a joke on everyone present Hieronimo to stand between him and punishment for his
except himself. In the banter that follows between Pedringano, mistake, and Hieronimo agrees, taking the letter. In it
Hieronimo, and the hangman, Pedringano often looks toward Pedringano admits he helped murder Horatio on Lorenzo's
the page for reassurance, whereupon the page silently points orders, along with Balthazar and Serberine—thus confirming
to the unopened box. Finally, Pedringano teases the hangman the information in Bel-Imperia's letter. Incredulous, Hieronimo
with what he supposes the page has in the box, and then plays asks if death was the ransom due his son for having
around with asking to pray—declaring that he doesn't need compassionately spared Balthazar's life, and remarks on how
prayer, adding blasphemy to his saucy insults. Hieronimo convincing Lorenzo's pretended friendship to Horatio had
marvels that Pedringano is so flippant over his own imminent been. Hieronimo resolves to approach the king with the matter
death and his very casual attitude about the painful to obtain justice or wear everyone down ("tear at the flesh")
consequences of murder, bringing to mind the murder of with endless threats of vengeance.
Horatio. When the page fails to reveal the pardon—because his
box is empty—the hangman executes Pedringano.
Analysis
Analysis In this scene various hard, unyielding substances like diamond
or stone act as a metaphor. Flint stone was used to spark
While the stage directions do not indicate it, it is probable that kindling into fire before people had matches. The stone is very
the page opens the empty box as soon as the hangman's hard and sharp; for Hieronimo to walk on flint with his old and
noose is around Pedringano's neck and he stands upon the tender feet would cut them deeply—indeed to "tear at the
stool. The hangman would then kick the stool out from under flesh." It is possible that the phrase wearing the flints may refer
Pedringano's feet so that his neck snaps and he dies. to penitential practice of wearing shoes with something hard
and sharp in them. As Hieronimo will soon find out, the "walls of
The scene is an example of dramatic irony, in which the diamond" that block his pleas to heaven for justice and redress
audience is aware of something the characters do not know. are just as hard when it comes to fair justice and redress on
Pedringano's flippant attitude, which so troubles Hieronimo, Earth, especially at the hands of the king, whose own nephew
proceeds from his belief that Lorenzo would provide him with a is one of the murderers.
letter of pardon. In fact, Pedringano is too engaged in his
wordplay to reveal Lorenzo's role in the murder of Serberine.
Only Hieronimo, who is grieving for his murdered son, seems to
grasp the gravity of the situation.
Act 3, Scene 8

Act 3, Scene 7 Summary

Isabella and her maid discuss which herbs Isabella can take to
heal her breaking heart, but realizing that nothing will ease her
Summary pain, she runs through the house calling for Horatio. The maid
tries to calm her, saying that her son sleeps in the Elysian
Later that same day at his house, Hieronimo expresses his Fields. In the slipping of her mind, Isabella seems to confuse
inability to encompass his sense of unresolved injustice and herself with reference the maid makes to her own soul, and
grief over his son's death. In this lament he summons the then seems to see her son in heaven before asking where she
forces of nature to fuel his unruly passions. But although they can run to find the murderers.
mount heavenward, justice and revenge remained sealed from
his pleas by "walls of diamond" so that his words are given no
place to be heard. The hangman enters with a letter he found
on Pedringano's body, which he says shows that Pedringano

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The Spanish Tragedy Study Guide Scene Summaries 25

murdered Horatio; Lorenzo hopes that the nine days that have
Analysis passed since the murder will have given her time to soften up.
When she enters escorted by Christophil, Bel-Imperia meekly
This short scene demonstrates the unhinging of a parent's
asks her brother why she has been locked up. He answers
mind when the unnatural death of a child must be accepted.
that, on the night in question, the king and the duke had come
The loss of an only son is especially terrible, since with him
to consult with Hieronimo on matters raised by the viceroy and
dies the continuation of the blood line; a very important issue,
he locked her up out of sight because he didn't want her uncle
especially considering that the father of Queen Elizabeth I,
and father to find her in the garden with Horatio. After all, he
Henry VIII, died leaving only a sickly son who did not survive
reminds her, it wasn't all that long ago her father found out she
into adulthood. Isabella's encroaching symptoms of madness is
was romancing Andrea and had her punished for it. Acting out
a prelude to Hieronimo's madness.
the role of the protective brother, Lorenzo tells Bel-Imperia he
thought it best to get her quickly out of sight to save her from
dishonor.
Act 3, Scene 9
With equal artifice, Bel-Imperia pretends to accept this and
thanks them for their care of her. To her question as to why
Summary she was kept in solitude for nine days, he answers that she
was looking pretty bad grieving for Andrea, and that he
At Lorenzo's home, Bel-Imperia is in her apartment at her thought it would make her father even more angry to see her in
window lamenting her treatment at the hands of her brother that melancholy state. Quickly changing the subject, Lorenzo
and wondering why it is taking Hieronimo so long to act since calls her attention to the unrequited love of Balthazar, who
dropping the letter at his feet. Her distress is interrupted when attempts once more to woo her with poetic phrases. Unmoved,
the servant Christophil comes in to escort her out. Bel-Imperia leaves her brother's company. Playing the part of
the lovesick and rejected lover to the hilt, Balthazar follows
Lorenzo out as well.
Analysis
This scene mirrors the previous one; both Bel-Imperia and Analysis
Isabella as women are powerless to do anything about the
murder of Horatio: Women have neither the strength of arms to It may seem strange that Lorenzo is so concerned about being
exact vengeance, nor the credibility with which to appear in a sure Pedringano has been hanged until dead; however, there
court of law and give testimony. A man is going to have to act were several documented cases in which a hanging did not
on their behalf, and the only one now who can do that is guarantee death. To make sure of it, one method was often
Hieronimo. backed up by another; especially hanging. In one instance
recounted in the stories of Balzac, an old maid rescues and
brings back to life a young man presumed hanged; at the pleas
Act 3, Scene 10 of the old maid, his life was spared on condition that he marry
her. The playacting that goes on between Balthazar, Lorenzo,
and Bel-Imperia foreshadows the playacting they will do near
the end of the play whereby all three will end up dead.
Summary
Lorenzo, Balthazar, and the page are in Lorenzo's home.
Lorenzo wants to make absolutely certain that Pedringano is Act 3, Scene 11
dead, and the page swears it is so. Summoning Christophil,
Lorenzo gives him a ring and tells him to bring Bel-Imperia to
him. Lorenzo and Balthazar briefly confer on how exactly to
handle her, since they are pretty sure she knows they

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The Spanish Tragedy Study Guide Scene Summaries 26

meaningless duties in service). However, a madman turns this

Summary order upside down, making everyone around him
uncomfortable.
Addition 3 pretty much makes up the entire scene, in which
two Portuguese gentlemen enter to meet Hieronimo in his
home and attempt to give him Horatio's slippers. In a detailed
speech, Hieronimo wonders why a child—especially a
Act 3, Scene 12
son—should move a father to such extremes of emotion. Yet
again, Horatio laments that Horatio was so honorable that he
spared Balthazar's life on the field of battle at a moment when Summary
he could have legitimately killed him, only to allow the proud
prince to reward the favor by illegitimately murdering him. Even At the Spanish court, Hieronimo enters carrying a rope and a
so, Hieronimo considers that heaven, Nemesis, and the Furies poniard (a small, slender knife), evidently intent upon using
do sometimes catch up with murderers; given enough time, them as props to help him approach the king and present his
their vengeance builds to an overpowering violence. Possibly a dire plea for justice, since his son was hanged by a rope and
little confused by Hieronimo's speech, the two Portuguese finished off with a knife. But as he thinks to himself, Hieronimo
gentlemen ask him how to get to the Duke of Castile's house, finds himself considering using one or the other as a means to
and whether or not Lorenzo is there. For some unexplained suicide before remembering that if he does, there will be no
reason, Hieronimo goes in at one door and comes out at one to avenge his son's death. Presently, the king enters with
another before answering them. He says the "way to Lorenzo" the ambassador, Lorenzo, and the duke. When Hieronimo cries
is along a left-hand path downhill from a guilty conscience into out to the king for justice, Lorenzo quickly intervenes, saying
a dark forest of distrust and fear and ending in the torments of the king is busy. The king asks who is calling him, but
hell. This confuses the two Portuguese gentlemen even more, Hieronimo withdraws, perceiving that to accuse both Balthazar
and laughing with Hieronimo as if he'd made a great joke, they and Lorenzo so directly at this place and time would not incline
leave amid comments the old man isn't right in the head. the king to believe him.

Receiving no answer, the king walks on, asking the

ambassador if the viceroy accepts the betrothal of his son to
Analysis
Bel-Imperia. Upon being assured that the viceroy is delighted,
the king next asks his brother if he is agreed to this match, and
Although he has not traveled to the underworld, Hieronimo
of course he is. The ambassador tells the king that the ransom
seems pretty sure which path leads to damnation, describing
due Horatio has arrived. The king instructs that the ransom be
the path to find Lorenzo as the same left-hand and downward-
given to Horatio. The audience might find credulity stretched
sloping path which the Ghost of Andrea passed on his way to
here, for the king is so clueless that he hasn't yet heard that
Pluto and Persephone in the first scene of the play. The left
the son of Hieronimo has been murdered nine days before.
hand was considered to be negative, evil, or unlucky, a notion
that survives in the English word sinister, from the Latin word
At mention of his son's name, Hieronimo again calls out to the
for left.
king for justice. But when Lorenzo again blocks his access,
Hieronimo falls to the ground, stabbing it with the dagger as if
However, his directions only serve to further confuse the two
to somehow raise the shade of Horatio from the underworld to
Portuguese gentlemen, and give them the impression that
bear witness. The sight of his trusted knight marshall on his
Hieronimo is insane. Reversing "normal" behavior defines
hands and knees digging dirt with a dagger genuinely puzzles
madness in The Spanish Tragedy: Hieronimo gives the
the king. When Hieronimo leaves, Lorenzo easily persuades the
Portuguese gentlemen "psychological" instead of physical
king that Hieronimo has lost his mind in envy that Horatio and
directions to find Lorenzo, the morbidity of which prompts
not Hieronimo is to get the ransom money. Taking pity on
them to laugh. The episode suggests that perhaps madness is
Hieronimo, the king sends him some money. Lorenzo pushes
a point of view. Petty people assumed to be sane by society
the matter to suggest that maybe it would be a good idea to
laugh at profound issues such as death, and take with utmost
divest Hieronimo of his office and give it to someone younger
seriousness such superficial things as slippers (their

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The Spanish Tragedy Study Guide Scene Summaries 27

and more competent, but the king is not quite ready to do that transpire. The lighting of torches in the day to illuminate what
yet. Moving on to happier thoughts, the king proceeds to even daylight cannot reveal in terms of the truth stands
solemnize the match between Bel-Imperia and Balthazar and opposite lit torches that lead a groom and bride to their nuptial
order the wedding to take place as soon as the viceroy arrives. chamber after the wedding and feasting at night. Revenge will
raise this idea again in the last scene of Act 3. Furthermore,
Addition 4 is inserted at the end of the last line of the scene the names of the two servants in Hieronimo's house suggest
and takes place at Hieronimo's garden at night. Two servants, they speak different languages, as Jacques is a French name
Jacques and Pedro, enter with lighted torches and discuss the and Pedro is Spanish. Although Latin and Italian have been
distracted lunacy their master exhibits over his son's death. used in poetic passages so far in the play, it is in the
Hieronimo enters, looking everywhere for his son. When he confounding of languages (Greek, Latin, Italian, French,
asks them why they are carrying lighted torches, they reply Spanish, and English) that Hieronimo will bring his tragedy into
that it was on his orders that they do so, but he answers that biblical allegory with the fall of Babylon.
he could not have given such an order; rather they should light
them at mid-day. This makes no sense to them, and Hieronimo
rambles on about how faithless the moon and stars are, that
they were not shining the night Horatio was killed. He also
Act 3, Scene 13
denies he is mad.

When Isabella enters, she begs her husband Hieronimo to Summary

come back indoors, but he says that he has been merry with
the servants and points out to her the tree from which their Hieronimo enters with the book still in hand and trying to work
son was hanged. He further describes how he raised it from a out the best way and time to carry out a plan of revenge. He
seed and watered it only for it to be the means by which struggles with opposing considerations; one, his passionate
Horatio—their fruit—was murdered. A knock at the door desire to see revenge carried out as quickly as possible to
interrupts them. It is the painter Bazardo, who reveals that he ease his pain and two, his desire to wait for the opportune
too had a son who was murdered. Bazardo and Hieronimo sit moment so that his revenge will be as devastating as possible.
and commiserate on their shared misery. Hieronimo asks about He reasons his best option is to observe closely and pick his
Bazardo's skill and art as a painter, and describes for him a moment with great discernment.
scene he wants painted in the most extreme terms of emotion:
Disturbed by a commotion, Hieronimo asks a servant what is
from a lovingly beautiful family tableau to the worst villainy to
going on, and the servant answers that some petitioners have
appear in the faces of the murderers. Suddenly Hieronimo
arrived to plead cases before him. When they enter, they give
jumps up, runs into the house, and comes back out with a book
Hieronimo their papers, but Hieronimo notices that one old
in his hand.
man stands aside mute. When he questions the old man,
whose name is Bazulto, the old man answers that he has

Analysis brought with him the most grievous suit possible; that his son
has been murdered. Hieronimo at once melds his own state

It is quite likely that the Duke of Castile is especially eager to into that of Bazulto's and draws out a handkerchief to offer to

see his daughter so well-matched, given that the longer she dry Bazulto's tears. However, the cloth is bloody (having been

remains single, the more time she has to get herself into other Horatio's) and Hieronimo pulls more things out of his pockets

amorous tangles with knights of lower rank and—should the as if to give all his possessions away. Invoking Bazulto to be his

affair become public—disgrace both herself and her family Orpheus, Hieronimo invites him to accompany him on a journey

such that she couldn't be married off at all. The risks of to Persephone, who—as Hieronimo hopes—will grant him

illegitimate children impelled noble families of the time to permission to tear his enemies apart with his teeth. Instead,

arrange and carry out marriages of daughters as soon as they Hieronimo finds himself tearing the petitioners' papers with his

became women. This scene may be the first literary use of the teeth, convincing them that he has completely lost his mind. He

term strange fruit to refer to men hanged from trees. Several runs about and they chase him. When Hieronimo returns alone,

details of the scene specifically foreshadow what is yet to he addresses Bazulto first as if he were Horatio, then as a Fury

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The Spanish Tragedy Study Guide Scene Summaries 28

come to torment him because he has not yet avenged his wild women devoted to Bacchus; implying that just as the
murdered son. Finally, Hieronimo sees in Bazulto the mirror vision of murder in painting cannot do the job, so too the
image of his grief. ordering inherent in music isn't enough. But perhaps the
incorporation of both vision and sound together in a play will
work.
Analysis
Hieronimo works through his plan of exacting revenge with Act 3, Scene 14
only a book to help him: everyone else first seeks counsel and
support from others before taking any action, or getting
someone else to do their dirty work for them. For example,
Lorenzo sent Pedringano to murder Serberine instead of doing
Summary
it himself, and Balthazar depends completely upon Lorenzo to
The Viceroy of Portugal and his brother Don Pedro have
contrive to make Bel-Imperia love him. In addition, the timing
speedily arrived at the Spanish court. While the Duke of Castile
for taking revenge must be exact.
greets his counterpart, Don Pedro, the King of Spain moves in

To those who treasure possessions, a sure sign of madness is to greet the viceroy. The king informs the viceroy that the

giving away possessions. While Hieronimo's act of pulling marriage between Balthazar and Bel-Imperia is set for the next

things out of his pockets to give them away causes the day, and (perfectly certain of the answer), asks the viceroy

petitioners to question his sanity, his act of violently tearing whether or not this is acceptable. This gives the viceroy a

their papers with his teeth seals it. Papers and passports have, chance to make a gracious speech and give his crown to

until now, served to convey the means of justice and rightful Balthazar, with the stated intent of retiring to a solitary life.

action, but they have failed Hieronimo. The spoken word has After commenting on the viceroy's show, the king ushers

also failed him. Not even the signs of his son's murder (the everyone off, leaving the duke and Lorenzo. After first

bloody scarf, rope, and the knife) have served to convey his questioning Lorenzo's feelings for his sister, the duke observes

grief and plea for justice. it has been rumored that Lorenzo has been keeping Hieronimo
from presenting a suit to the king. He asks his son if he has
The tearing of the letters with Hieronimo's teeth also implies an done anything wrong to Hieronimo that, if brought to light,
act of cannibalism, perhaps referring to eating the written might cause a scandal; after all, Hieronimo has a very good
words as Saturn in classical mythology ate his own children. It reputation at court and is in the king's good graces.
could also invoke the idea that Hieronimo must "eat his own
words" and swallow them in order to enact the "wild" justice of Lorenzo protests that he cannot stop rumors, but the duke

revenge. A third possible meaning is that actors must take counters that he has seen Lorenzo keep Hieronimo away from

what is written on their "role" in a play script and commit them the king. Lorenzo protests that he is only trying to protect

to convincing memory and stage illusion—in effect, consuming Hieronimo's dignity—after all the sight of one of his most

and internalizing the words and actions of the character they trusted and loyal subjects in a state of madness would surely

are to present onstage. grieve the king. The duke sends for Hieronimo, and Balthazar
and Bel-Imperia enter. Balthazar's happiness is contrasted with
In hailing the old man Bazulto merged as both father and son in Bel-Imperia's sorrow. The duke supposes she still fears his
one entity, Hieronimo conflates his own impetus of revenge. anger over her fling with Andrea, and tries to reassure her that
And in assigning Bazulto to be his Orpheus, Hieronimo refers her marriage to Balthazar is the perfect cure. At this point,
to the ordering power of language which he himself has lost. Hieronimo enters and the following exchange between him and
Orpheus was charged with representing the orders of harmony the duke persuades everyone that he is indeed mad. For his
through his music, which conveys meaning beyond mere part, Hieronimo protests that Lorenzo so loved Horatio that
words. So, not only has Hieronimo attempted to turn to the Hieronimo draws his sword, putting on a show to attack
vision in painting, he now turns to music as a conductor of his anyone who would spread such vicious rumors against
grief. Elizabethan audiences would have also known the Lorenzo. Convinced but a bit puzzled, the duke invites
classical Greek story that Orpheus himself was torn apart by Hieronimo to use his home as his own and keeps him company.

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The Spanish Tragedy Study Guide Scene Summaries 29

When the duke leaves, Hieronimo spits after him and angrily if so, his action to murder the duke at the end of the play might
says in Italian, "Someone who shows me more affection than make more sense.
usual has either betrayed me, or wishes to betray me."

Act 3, Scene 15
Analysis
The theme of this scene is one of reality being opposite the
show the characters are putting on for each other. The Viceroy
Summary
of Portugal proves himself able to follow through (at least in
At an undetermined location concluding Act 3, the Ghost of
public) on removing himself from the rim of Fortuna's wheel in
Andrea finds Revenge asleep and angrily shakes him awake.
making a show of giving his crown to his son. But then again,
Revenge replies on the order of "I was only resting my eyes a
he has "hedged his bets" in that he anticipates his bloodline will
while," and reminds the Ghost of Andrea that sleep is often the
continue not only to rule Portugal, but Spain as well when a son
most appropriate preparation for drastic action. As if to placate
is born to Bel-Imperia and Balthazar.
him, Revenge summons in a Dumb Show of mimes and

The Duke of Castile is putting on a show of his own to cover narrates the action. Two torchbearers followed by Hymen (the

his doubts about the relationship between his son and deity of marriage) enter. Hymen is not only dressed in his usual

Hieronimo, and Lorenzo does his own little tap dance to saffron robes, but also in black. Hymen puts out the torches

counter those fears. If, at this point, Lorenzo were exposed as with his breath and then drenches them in blood. The Ghost of

Horatio's murderer, this might make it impossible for his sister Andrea, placated by the symbolic representation of this Dumb

to be married to Balthazar, thereby ruining everyone's hopes Show, resumes his seat to see the rest of the play to its end.

for the future. Since it is crucial to the duke to make sure the
marriage goes forward, he grills Lorenzo to make sure his son
hasn't done anything to wrong Hieronimo. He may also be
Analysis
looking for signs Lorenzo might cause trouble not only for his
A slight bit of humor might be implied here; Revenge has fallen
sister's inheritance, but for the diversion from the line of
asleep during the play, just as audience members sometimes
succession to the Spanish throne her marriage will effect. After
do when they are bored or not invested in the drama they are
the king's brother and his father, Lorenzo would be next in line
watching. The Ghost of Andrea seems to believe Hieronimo's
for the Spanish crown if something should happen to the
show of love toward the Duke of Castile, Lorenzo, and
childless king. However, Lorenzo seems much less concerned
Balthazar, and calls on Revenge to get up and do something
with the public show of power for himself than in working for
about it. Revenge reminds the Ghost of Andrea that nothing is
his own ends behind the scenes. It is quite likely that Lorenzo
really as it seems on the surface—the more Hieronimo puts on
intends to use both his sister and new brother-in-law like
a show to fawn on his enemies, the more he is in truth growing
puppets; after all, only he knows that Balthazar is one of
his hatred. Just as the more lethargic Revenge seems to be
Horatio's murderers.
indifferent on the surface, the more Revenge prepares to
Direct cause is no longer available to Hieronimo. When the activate the force of vengeance. The Dumb Show Revenge
Duke of Castile questions him directly whether or not Lorenzo presents to the Ghost of Andrea clarifies the exact nature of
has done anything to insult him or keep him from speaking to how Revenge will use the high point of a marriage celebration
the king, Hieronimo puts on a show drawing his sword to to plunge everyone into anguish; a marriage intended to initiate
challenge anyone who might even suggest that Lorenzo is a new beginning of everyone's hopes for the future will actually
anything but the most noble and loyal friend Horatio ever had. turn into their earthly end.
He even makes a show of embracing both Lorenzo and
Balthazar to please the duke. This is, of course, entirely
opposite to Hieronimo's ultimate intent. It is possible that his
ending words indicate he suspects that the duke may have
directly or indirectly been a part of the plot to murder Horatio;

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The Spanish Tragedy Study Guide Scene Summaries 30

now he will see the fall of Babylon.

Act 4, Scene 1
Analysis
Summary
Through flattery and enticement, Hieronimo gets Lorenzo to
Hieronimo is with Bel-Imperia in Lorenzo's house. As if play a part completely opposite to his true villainy—that is,
mirroring the previous scene between the Ghost of Andrea and Erasto, the noble Knight of Rhodes who is murdered. It is apt
Revenge, Bel-Imperia berates Hieronimo in an impassioned to have Lorenzo speak his part in Italian, since it further
speech for his slowness. He explains to her that he did get her connects him to the ruthless principles of Machiavelli and the
letter, but wasn't sure he could believe it until it had been supposed conniving inherent in the Italian ethos—as the
corroborated with additional evidence. Having verified her English characterized them.
words as truth, he is now on a course to take revenge on
Lorenzo and Balthazar. She promises to do anything she can Since Balthazar is to play the part of Suleiman, the Turkish

to help. He tells her he has a plan, but before he can say more, Emperor, it is likely he thinks this suits his rank. It was fairly

Balthazar and Lorenzo enter, teasing Hieronimo for possibly common for royalty and nobility to playact in court

courting Bel-Imperia. It pleases Hieronimo to play along with entertainments, as long as they didn't have to take a part

the joke. Balthazar recalls that Hieronimo is pretty good at inferior to their real station. This might be why gods and

entertaining, and asks him if he would devise something goddesses were so popular as characters. It also gave them a

charming for the wedding guests. This works perfectly into chance to parade around in their finest clothes in front of an

Hieronimo's plan; his responses carry double meanings, which attentive audience. In this way, the performance of court ritual

on the surface suggest compliance with the request, while also is parallel to that of playacting. Having the Prince of Portugal

alluding to the revenge he intends to take. He says he once speak in Latin conflates the Balthazar/Babylon connection into

penned a tragedy. Balthazar is puzzled and questions this a third implication: that is, since Catholic priests conduct

choice for a happy occasion like a wedding, but Hieronimo services in Latin, it is unintelligible "babble" to ordinary people.

answers that even the Roman Emperor Nero took to acting in In some of the more virulent Protestant writings of the time, the

serious plays with no loss of dignity. Vatican was described as the new Babylon steeped in lavish
wealth and ripe for God's vengeance, while the pope was
This appeals to Balthazar's vanity and he volunteers to act in characterized as the antichrist. In any case, it wouldn't be too
Hieronimo's play, with Lorenzo adding his own acting skills to difficult to make a turban suggest the papal crown.
the project. Hieronimo further enlists Bel-Imperia and outlines
the plot of the play to them. Caught up in the story, each one Erasto/Lorenzo and Suleiman/Balthazar will be supplied with

asks the role they will play. Hieronimo assigns to himself the pretend weapons, but Hieronimo will make sure both himself

role of the murderous Pasha, while Balthazar is to be Suleiman and Bel-Imperia are armed with real daggers. Hieronimo

the Turk, Lorenzo will be Erasto the Knight of Rhodes, and Bel- himself will play the murderous Pasha speaking in Greek, which

Imperia the maidenly Perseda. He hands them their scripts and makes it possible for him to carry out his revenge in reality as

makes suggestions on their costumes. Balthazar is still not well as in the illusion of a play. The fact that Bel-Imperia is to

quite convinced a tragedy is appropriate, but Hieronimo is play Perseda—the "chaste and resolute" wife of Erasto—is

adamant that only a tragedy is fit for kings and nobles. Almost treated as something of a comment on her purity. In having

as an afterthought, Hieronimo insists that each character will Bel-Imperia speak her lines in French, Hieronimo further

speak a different language: Latin for Balthazar, Greek for implies a lax virtue; she raises her eyebrows at this but does

himself, Italian for Lorenzo, and French for Bel-Imperia. Ever not seriously object. However, since an illusion of femininity on

the drama critic, Balthazar points out that in doing that, no one the Elizabethan stage was achieved by having young boys play

in the audience will be able to follow the play, to which the women's parts, it wouldn't matter what she really was as

Hieronimo answers that he will narrate the action and besides, long as she can make a convincing pretense. Actresses were

he will have a tableau hidden behind a curtain which will bring allowed on public stages in Spain a good hundred years before

the whole thing together. When they all leave to learn their they were in England; at least, as long as they wore skirts and

lines and get their costumes and props, Hieronimo says that were not masked. Besides, Hieronimo has suggested to Bel-

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The Spanish Tragedy Study Guide Scene Summaries 31

Imperia she costume herself as a "huntress," which would allow

her to carry a dagger onstage as a prop.
Summary
The "roles" Hieronimo hands out is a roll of paper containing At the Spanish court the next day, Castile enters to find
only that character's lines and cues; it would be too laborious Hieronimo busy setting the curtain for the play. Seemingly in a
to copy off an entire script for each cast member by hand. good humor, Hieronimo gives Castile a copy of the book of the
However, a Book or Key was written of the play as a whole for play so the king will be able to follow the action as it unfolds,
the bookkeeper to prompt actors when they forget their lines. but he also asks to have it back once the king has read it so
Actors at that time were also responsible for their own that it can be used to prompt the actors in case they forget
costumes and props (properties) and eagerly looked to their lines. As the director and author of the play, Hieronimo
wealthy patrons among the nobility to give them their cast-off instructs Balthazar to hang up the sign that designates the
clothing to use as costumes. If the patron lord was willing, an scene as Rhodes and then to finish getting into his costume.
actor in his employ could not only observe firsthand the Once he's left to do as he's been told, Hieronimo glances
manner of speech, gesture, and movements of a noble, but around to see that everything is in readiness and adds the
also take gentlemanly training in fencing and dancing, the death of his wife to his pile of vengeance that will very soon
better to represent these features onstage. play out to his complete satisfaction.

Act 4, Scene 2 Analysis

It was pretty common in London playhouses of this time that
the playwright was also the director and all other members of
Summary the "production team," including taking a role himself; narrating
obscure points to the audience, and keeping the Key or Book
Isabella enters the garden with a "weapon" and in a fit of
of the complete play at hand in case someone forgot the lines.
despair and anger tries to utterly destroy the tree from which
Hieronimo seems pretty busy making sure each factor is in
her son had been hanged. Once she has done as much
perfect alignment to balance his show of illusion and reality
damage as she can to the tree, she turns the weapon
simultaneously. Not only will Balthazar have to get it together
(assumed to be a knife) and stabs herself to death.
on the detail of his beard (about which he meekly takes his
orders from Hieronimo), but he'll also have to have red ribbons
tucked under his vest so that when his character is "murdered"
Analysis by Perseda, he, as the actor, can pull out the ribbons to make a
show of "blood" to the audience. Bel-Imperia/Perseda and
One of the worst sins a person could commit against God was
Lorenzo/Erasto will also need to have red ribbons tucked into
to commit suicide, thereby destroying God's own creation. The
their clothing so that when they "die," the audience can see the
part of Dante's Inferno to which the suicides fell was one of the
"blood."
deeper regions along Dante's journey with his guide Virgil.
There, suicides existed as barren brambles which the Furies
would attack periodically and break the branches. When the
branches were broken, they bled blood; but this was also the
Act 4, Scene 4
only way these damned souls could speak to tell Dante their
stories.
Summary

Act 4, Scene 3 At the Spanish court, everything is ready for the entertainment,
and the audience enters to be seated. The King of Spain, the
Viceroy of Portugal, the Duke of Castile, and all their
attendants arrive to see "The Tragedy of Suleiman The Turkish

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The Spanish Tragedy Study Guide Scene Summaries 32

Emperor." Giving the play script to his brother, the king assigns faithful to her ideal of chivalric love (Andrea and Horatio being
him to be its keeper; however, the play proceeds with the king interchangeable) and is able to not only avenge their deaths in
narrating to the viceroy (as if he couldn't recognize his own son reality but also to take her own life—something Hieronimo did
in disguise) that Balthazar is playing the part of Suleiman, the not anticipate but acknowledged as her expression of fidelity.
lovesick Turk. Hieronimo/Pasha stabs Lorenzo/Erasto to death
so that Suleiman/Balthazar can take Bel-Imperia/Perseda for Just as Hieronimo pulls aside the curtain to reveal the tree and

his own. She refuses and stabs to death Suleiman/Balthazar the corpse of his son hanging from it (which after a good nine

and then herself. As the bodies of the slain pile up on the days begins to rot and stink), he also "pulls aside" all the

stage, the king marvels at how well each actor is able to illusions and falsehoods surrounding the conspiracy leading to

represent the illusion of dying, unaware that the weapons used Horatio's death, acknowledging that his only accomplice in

are real, and that the actors every bit as much as the these murders to be Bel-Imperia. Hieronimo is meticulous in

characters have been killed. When the momentum of the play taunting the Duke of Castile and the Viceroy of Portugal that

pauses with only Hieronimo/Pasha left alive, the king asks what the death of their sons must bring them to the same torment

is next. Hieronimo (leaving his role as the Pasha and speaking that he himself felt at Horatio's murder. For him to bite off his

in English) pulls aside the curtain to reveal the scene of the own tongue indicates his complete abandonment of the power

corpse of his murdered son hanged and bleeding from the of words at the height of his revenge; the only thing left to do is

tree. Hieronimo explains in detail how his son died, and who the to kill the duke and then take his own life. With the duke, Bel-

murderers were to the astonished audience. He pulls out the Imperia, Lorenzo, and Balthazar dead, the means of succession

bloody scarf and exposes the truth of his complete revenge; to the throne of Spain is completely disrupted; a situation that

that Balthazar, Lorenzo, and Bel-Imperia are dead for real. At has in the past provided abundant opportunity for civil war.

the end of his speech, Hieronimo runs off to hang himself, but
is apprehended and brought back into the king's presence.
Act 4, Scene 5
Addition 5 is inserted after line 167. Hieronimo is held and
questioned. By now the court has ascertained that everyone
on the bloody stage is really dead. Constantly calling
Summary
Hieronimo "slave" and "knave" and threatening him with torture,
the king elicits only the impassioned account of how Hieronimo
The Ghost of Andrea declares himself quite satisfied and sums
acted alone to exact revenge. Finally having done with speech
up the succession of murders that culminate in fulfilling
altogether, Hieronimo bites off his own tongue. When
Revenge's promise. Now his plan is to return to the underworld
Hieronimo makes a sign that he could write it out, he is given a
to ask Persephone to allow him to decide how his friends and
knife with which to sharpen his pen, whereupon he kills first the
enemies will spend eternity. The Ghost of Andrea states that
Duke of Castile and then himself with it. Brokenhearted, the
he would like to lead Horatio to the warrior's paradise on the
king orders that the bodies be carried out of the place for
right-hand path, while his mother Isabella should go "where pity
burial. The tragedy of the union between Bel-Imperia and
weeps but never feeleth pain." He implies that Bel-Imperia
Balthazar is one and the same as the tragedy of the union of
should be sent to where Dido is, and that Hieronimo should
Spain and Portugal; no one now has a secure line of
enjoy the music as Orpheus plays his harp.
succession to the kingdom.
As for his enemies, the Ghost of Andrea thinks that the Duke
of Castile should take the place of Tityus, whose liver is
Analysis continually being eaten out by a vulture; that Lorenzo should
be put on Ixion's wheel, and Balthazar hanged on the
It isn't difficult for each actor to play his or her part, since each Chimera's neck. Serberine should replace Sisyphus pushing
corresponds in some way to how each sees him or herself in the stone uphill, and Pedringano should be dragged through
reality. Balthazar is perfect as the lovesick but rejected the boiling cauldron of Acheron. Revenge agrees, stating that
emperor, to whom Bel-Imperia plays the unattainable object of as those who are just are endlessly rewarded, so too will those
his love precisely because this is how they have been in who are evil find that death does not bring an end to their
relation to one another in life. Bel-Imperia see herself as utterly

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The Spanish Tragedy Study Guide Quotes 33

misery; rather, it is just the continuation of their "endless of Portugal will do later in the play, he blames his defeat not
tragedy." At this the play comes to an end. upon any lack of valor or courage in battle, but upon chance, or
Fate, for having been dealt a bad hand.

Analysis
"He hunted ... that was a lion's
An unresolved issue is where the Ghost of Andrea will end up
in the underworld: with Horatio in the warrior's paradise, or with death, Not he that in a garment
Bel-Imperia among the lovers. The audience is left to
wore his skin—So hares may pull
speculate. Medieval pageant plays were still being performed
in Kyd's day, and one of the most popular parts was "the dead lions by the beard."
Harrowing of Hell" by Christ who enters Inferno through the
Mouth of Acheron to lead out righteous souls who died pagans — Hieronimo, Act 1, Scene 2
not knowing the Savior. The iconography is that of a wide open
and monstrous mouth swallowing the damned amid flames and
Hieronimo makes an acute observation on the difference
sulfur fumes (which, in performances not only gave a
between Horatio (who actually defeated Balthazar) and
spectacular stage effect, but also the stink of rotting eggs that
Lorenzo, who took on the trappings of capturing the
burning sulfur produces).
Portuguese prince; even a rabbit can safely pull a lion's beard if
the lion is already dead.

g Quotes
"She envies none but pleasant
"Here sit we down to see the things, Such is the folly of
mystery, And serve for Chorus in despiteful chance! Fortune is blind
this tragedy." and sees not my deserts."

— Revenge, Act 1, Scene 1 — Viceroy of Portugal, Act 1, Scene 3

These lines define the Ghost of Andrea and Revenge as The Viceroy of Portugal demonstrates a truth of human nature
observers and commentators on the progress of the play in a modern context: when things go well, people credit
without taking part in its action. The action of a Chorus in themselves with the achievement, but when things go wrong, it
classical tragedy was to act as intermediary between the isn't their fault, it's because Fate is jealous of their pleasures,
characters and the audience. A "mystery" could also refer to deliberately blind to what they really deserve.
plays performed on pageant wagons, which were popular in
England well into the 1600s.

"Thou know'st that I can more

"And, cards once dealt, it boots advance thy state/Than she, be
not ask why so." therefore wise and fail me not."

— Balthazar, Act 1, Scene 2 — Lorenzo, Act 2, Scene 1

Balthazar is a prisoner of war, and just as his father the Viceroy Lorenzo makes it very clear to Pedringano that he cannot only

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The Spanish Tragedy Study Guide Quotes 34

do more for him than his mistress Bel-Imperia can, but he can This piece of cloth has been soaked in blood—first in Andrea's
also destroy him. Therefore, if Pedringano is smart, he will do blood, and now Horatio's. It is the lifeblood itself that cries out
what Lorenzo tells him to do, even if it means betraying the for justice. It is blood spilled on the stage at the end of the play
confidence of his mistress. This is one of several points to be that fulfills Hieronimo's revenge and "murders" all hope of
made regarding gender and power, as well as the Spain and Portugal's bloodline continuity.
Machiavellian point of view regarding power between superior
and inferior men.
"I'll trust myself, myself shall be my

"Give me a kiss, I'll countercheck friend, For die they shall—slaves

thy kiss: Be this our warring peace, are ordained to no other end."

or peaceful war." — Lorenzo, Act 3, Scene 2

— Bel-Imperia, Act 2, Scene 2

This presents Lorenzo at his Machiavellian best; the murder of
Serberine will silence one who might later reveal Lorenzo's
This is a sample of the poetic rhetoric of the play, in which the complicity in the murder of Horatio. He will express virtually the
opposing yet closely aligned activities of war (Mars) and love same sentiment when Pedringano is captured and hung for the
(Venus) meet in violent passion; supporting the view of the murder of Serberine.
underworld in which the paradise of the lovers and the
paradise of warriors is close by but strictly separated.
"That only I to all men just must be,

"Endeavour you to win your And neither gods nor men be just

daughter's thought—If she give to me."

back, all this will come to naught." — Hieronimo, Act 3, Scene 6

— King of Spain, Act 2, Scene 3

Hieronimo observes that it is his duty to fairly witness the
execution of Pedringano on the charge of murder even though
In other words, all these powerful men are depending upon his own grievances go unanswered by both gods and men.
their ability to sway a "mere woman" to agree to a marriage she
doesn't want. The fact that both her father and brother
completely underestimate her passion is the key upon which "There in a brazen cauldron fixed
Hieronimo is able to bring forward his revenge.
by Jove ... Yourselves shall find
Lorenzo bathing him In boiling lead
"Seest thou this handkerchief
and blood of innocents."
besmeared with blood? It shall not
from me till I take revenge." — Hieronimo, Act 3, Scene 11

— Hieronimo, Act 2, Scene 5 Hieronimo refers to the gaping maw of hell, which in
mystery/cycle pageants spewed sulfur and flame; this is where
Lorenzo should be, not where he is at present.

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The Spanish Tragedy Study Guide Symbols 35

Isabella means not only the tree she slashes since it bears the
"Bid him come in, and paint some
fruit of her son's death, but also her own body that bore a son
comfort, For surely there's none only to have him murdered so young.

lives but painted comfort."

— Hieronimo, Act 3, Scene 12 l Symbols

The line echoes Hieronimo's misery in reality and his hope that
a painted scene will show the way things ought to be; for him, a
painted comfort is the only kind he can have. It also refers to
Bloody Handkerchief
the "painted" tableau of court behavior and perhaps also to the
"paint" women put on their faces to make men believe they
love them when they really want money/protection. Paint is Elizabethan audiences would remember the silken scarf from
also part of the scenery and makeup onstage. the prequel play The Spanish Comedy as the same token
which Bel-Imperia had given to her then-lover, Andrea. He wore
it into battle with the Portuguese, whereupon his friend Horatio
used it to bind Andrea's wounds. When Andrea dies, Horatio
"Thus worldings ground, what they
conveys it back to Bel-Imperia, but she begs Horatio to keep it
have dreamed, upon." as a reminder to avenge Andrea's death; it is also a bonding
token between Bel-Imperia and Horatio. It becomes bloodier
— Revenge, Act 3, Scene 15 still when Hieronimo discovers it on Horatio's body and dips it
in his son's stab wounds before attempting to use it to signal to
the King of Spain that he seeks justice for his murdered son.
This is an indirect reference to wish fulfillment by "worldlings"
However, in performing the act of wordlessly waving a bloody
(lowly audiences to a play who stand on the ground in front of
scarf at the king, Hieronimo simply reinforces the general
a stage), providing a view of what they themselves do not have.
opinion (fueled by Lorenzo) that Hieronimo is mad. As black ink
on paper represents words, so does blood on the scarf
represent deeds done—both are used to plea for justice.
"Why then I'll fit you, say no more."

— Hieronimo, Act 4, Scene 1

Fruit Tree
The double meaning is that Hieronimo will fit Lorenzo out with
what he needs to play his part in the play, but also refers to the
torture of the rack, whereby the victim is "fitted" or stretched The word tree represents not only a fruit tree growing in a

to the frame. garden, but also the tree of crucifixion in the passion of Christ.
It is also the hanging beam from which a condemned criminal is
hanged. Perhaps even more than her husband Hieronimo, it is
Isabella who brings these references together as bookends to
"And, as I curse this tree from the events of the Bible; that is, referring to both the Garden of
further fruit, So shall my womb be Eden with its tree of forbidden fruit to the Garden of
Gethsemane ending Jesus's earthly presence. Finally, the fruit
cursed for his sake." of love and the fruit of her body destroyed, Isabella not only
slashes at the tree from which her son was hanged, but also at
— Isabella, Act 4, Scene 2 her own body which bore the fruit of Horatio's birth. Fruit also
refers to the ripening of time it takes for Revenge to work its

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The Spanish Tragedy Study Guide Themes 36

maximum destruction; just as a fruit cannot be picked before Hieronimo as the Pasha also carries a rope with which to hang
ripe, so too the time to enact revenge must be at the peak of himself at the end of his play, but instead uses a small knife he
ripeness and not before, or it can miscarry. is given to sharpen his pen to write with to kill first the Duke of
Castile and then himself.

Pen, Ink, and Paper

Crown
As counterpart to the visceral impact of the white scarf stained
with blood (evidence of murder), pen and ink on paper serve As the symbol of royal authority, the crown is toppled off the
the rational currency of coherent words and their meanings. head of the Viceroy of Portugal when he believes his son
The first reference appears as the passport the Ghost of Balthazar is dead, but it is also removed from his head when
Andrea needs when traveling along the path to Pluto's court in the Spanish defeat the Portuguese forces. The viceroy is
the underworld. This mirrors the itinerant troupes of actors clearly going round on the rim of Fortuna's wheel, but he
who had to present their passport of validity to town officials seems to be aware of this when the line of succession is
before being allowed to present their plays in Elizabethan secured through the marriage of Balthazar to Bel-Imperia. The
England. A written note brings Serberine to keep a date with viceroy has lost, but his son has not, and the anticipated
his own death; a pardon kept in a box causes Pedringano to grandson (if the child survives attacks by the ambitious, such
joke around before he is hanged. It is Bel-Imperia's note to as "Uncle Lorenzo") would be in line to follow the current King
Hieronimo written in her own blood that begins the of Spain in gaining the crown of Portugal and Spain combined.
disintegration of orderly language intended to accomplish
justice. This order breaks down when Hieronimo, in utter
frustration, tears the petitioners' papers with his own teeth.
Finally, the roles for the actors in Hieronimo's play—each m Themes
written in a different language—confounds communication
between them and the audience in a reflection of the Tower of
Babel, ripe for God's vengeance upon the arrogant and
prideful.
Personal Revenge versus Civil
Law
Rope and Knife
Not only is revenge personified, but it is the guiding principle
behind the actions of the play. Revenge moves slowly to attain
These symbols of violent and disjointed murder appear its maximum effect on those who have committed murder by
together as the noose with which Horatio has been hanged hitting them at the height of their pleasures (such as the
and the knives of his attackers that cause him to bleed. wedding festivities), so they are plunged from extreme joy
Hieronimo runs onstage carrying a knife in Act 3, Scene 12 with directly into extreme misery (not only in life, but also in the
which he intends to make sure he is able to kill himself; afterlife). In contrast, civil law as administered by earthly or
presumably if he can't hang himself, he can otherwise stab divine authority of justice is inconstant and uncertain. Although
himself to death. Moments later, when the King of Spain comes it is acknowledged that this process works some of the time, it
in on the scene, Hieronimo presents these items to him, is "deaf and blind" in other instances, especially when the
possibly in the hopes that the king will get the message without criminals are of high rank, like Lorenzo and Balthazar. While his
words. Hieronimo's speech utterly fails him in the depths of his wife Isabella gives up and kills herself, Hieronimo (who wishes
misery, and he instead stabs at the ground on his hands and he could do the same) must live until he is certain all pleas to
knees to somehow summon his dead son to speak for him. civil law are not going to work, whereupon he must exact

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The Spanish Tragedy Study Guide Themes 37

revenge by his own hand. combat. The classical echo of this is the dalliances between
Venus (goddess of love) and Mars (god of war) despite the
fact that Venus is already married to Vulcan (god of the fire
forges and blacksmith/craftsman to the gods on Olympus).
Fortune, Fate, and Human Acts

Fortune, Fate, and Nemesis in this play are interchangeably

Reality versus Illusion
invoked as an excuse to explain why a high-ranking warrior
such as Balthazar is defeated—he was simply dealt a bad hand
and his capture is not the fault of his actions, but of random Some of the most striking instances of reality wrapped in
fate. The same is true of his father the Viceroy of Portugal, who illusion wrapped in reality (like an onion) are found in
makes a display of yielding to Fortuna's wheel by falling to the Hieronimo's play at the end. Real actors portray the illusions of
ground and removing his crown, saying that the wheel can't characters who are killed by means of an illusion of murder
throw him any lower than he now is. But as if transitioning from onstage only to reveal that the actors themselves have been
one state of mind to another, the viceroy continues a killed for real; and this is enveloped in a play presented on an
description of parallel actions and consequences of those Elizabethan stage. The rituals of the court that reinforce rank
actions that "suggests a world governed not by chance but by in descending and ascending order give public illusions
the ineluctable chains of consequence that led him to a final designed to cover very real opposites. Although he is the
acknowledgement of his own responsibility." Prince of Portugal, Balthazar is so weak he plays right into
Lorenzo's hands; for all the trappings of valor he gained on the
Fortune is envious when a person is brought up and therefore battlefield, Lorenzo didn't actually face Balthazar in a fight the
casts him down. However, a wheel turns indiscriminately; no way Horatio did. A painting, like a play, also depicts what is
one stays down permanently any more than they can always wished for, not what is real.
stay on the top. By contrast, people tend to credit themselves
when they succeed in accomplishing their ends—patting
themselves on the back for being above average. Arrogance
dictates that the rules apply to everyone else. The gamble by Privilege of Rank
which this assumption is tested—as the hapless Villuppo
observes—doesn't always pay off.

Justice in particular is "blind" to the equality of rank no matter

the social or political structure. In this play, however, privilege is
Love and War pulled to the breaking point when Hieronimo is unable to even
communicate with words his plea for justice from the King of
Spain. The problem is that the criminals are the Prince of
Portugal and the king's own nephew, which, if known, would
The Ghost of Andrea introduces this bonding of opposites in produce a major scandal. While justice is swift to come for
the first scene of the play by describing the paradise of lovers Pedringano for having murdered Serberine, it would take a
and the paradise of warriors in the Underworld as being right great deal of delay before it could even come close to
next to each other, but completely separated. Balthazar punishing Balthazar and Lorenzo for the murder of Horatio. In
declares himself slain with love, and as captivated by Bel- other words, it is far more important for everyone to keep their
Imperia in love as he was by Horatio and Lorenzo on the appointed place and duty in the kingdom than it is for lesser
battlefield. Both war and love lead to a kind of berserk courtiers like Hieronimo and Horatio to expect justice.
madness through extreme passion that supersedes reason. It
is a melding of love and hate that generates the passion
needed for Hieronimo to exact revenge. Horatio and Bel-
Imperia express their growing love for one another in terms of

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The Spanish Tragedy Study Guide Suggested Reading 38

e Suggested Reading
Brockett, Oscar G. and Franklin J. Hildy. History of the Theatre.
8th ed., Allyn, 1999.

Erne, Lucas. Beyond The Spanish Tragedy: A Study of the

Works of Thomas Kyd. 1st ed., Manchester University Press,
2009.

Hartnoll, Phyllis, and Peter Found, editors. The Oxford

Companion to the Theatre. 2nd ed., Oxford UP, 1951.

Martin Banham, editor. The Cambridge Guide to Theatre.

Cambridge UP, 2000.

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