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stylistic commentary spanish tragedy, Apuntes de Teatro

Universitat de València (UV)Teatro
Prof. Jesús Tronch

Asignatura: Teatre anglès fins al segle XIX, Profesor: Jesús Tronch, Carrera: Estudis Anglesos, Universidad: UV

Tipo: Apuntes

2012/2013

Subido el 15/05/2013

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Stylistic Commentary of The Spanish Tragedy: III.7.1-18
Mireia Esteban, Annabel Kay and Silvia Barbero (2011)
[3.7] Enter HIERONIMO.
HIERONIMO
Where shall I run to breathe abroad my woes,
My woes whose weight hath wearied the earth?
Or mine exclaims, that have surcharged the air
With ceaseless plaints for my deceased son?
The blustering winds, conspiring with my words, 5
At my lament have moved the leaveless trees,
Disrobed the meadows of their flowered green,
Made mountains marsh with spring tides of my tears,
And broken through the brazen gates of hell.
Yet still tormented is my tortured soul 10
With broken sighs and restless passions,
That, winged, mount, and, hovering in the air,
Beat at the windows of the brightest heavens,
Soliciting for justice and revenge.
But they are placed in those empyreal heights 15
Where, countermured with walls of diamond,
I find the place impregnable, and they
Resist my woes and give my words no way.
Enter HANGMAN with a letter.
1 breathe speak (OED v. 7)
abroad out in the open air (OED adv. 3)
2 wearied wearièd
3 exclaims exclamations, outcries
4 plaints laments; complaints
deceased deceased
5 blustering fig. talking in a loud, aggressive way
6 moved . . . trees ‘stripped the trees of their leaves’
(Bevington2)
8 marsh an area of low-lying land which is flooded in wet
seasons or at high tide
11 passions sufferings (OED n. 3)
12 winged wingèd
15 empyreal of the sphere of fire or highest heaven (OED
empyrean a. 1).
16 countermured fortified with an outer wall for
additional defence,
A dónde iré a exclamar mis penas,
mis penas, cuyo peso sobrecargan el mundo?
O mis gritos, que han cargado el aire
con lamentos incesantes por mi hijo muerto?
Los vientos violentos, conspirando con mis palabras,
al oír mis lamentos han despojado de hojas a los árboles,
han robado a los prados el verde de sus flores,
han inundado las montañas con mareas de mis lágrimas
e irrumpido por las puertas ardientes del infierno.
No obstante, mi alma torturada aún está atormentada,
con suspiros rotos y sufrimientos
que alados suben y, revoloteando en el aire,
golpean en las ventanas de los cielos más brillantes,
pidiendo justicia y venganza.
Pero éstos situados están en las alturas celestiales,
donde, fortificados por muros de diamantes,
encuentro el lugar impenetrable; y ellos
Se resisten a mis penas e ignoran mis palabras.
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Stylistic Commentary of The Spanish Tragedy : III.7.1- 18

Mireia Esteban, Annabel Kay and Silvia Barbero ( 2011 ) [ 3. 7 ] Enter HIERONIMO_._ HIERONIMO Where shall I run to breathe abroad my woes, My woes whose weight hath wearied the earth? Or mine exclaims, that have surcharged the air With ceaseless plaints for my deceased son? The blustering winds, conspiring with my words, 5 At my lament have moved the leaveless trees, Disrobed the meadows of their flowered green, Made mountains marsh with spring tides of my tears, And broken through the brazen gates of hell. Yet still tormented is my tortured soul 10 With broken sighs and restless passions, That, winged, mount, and, hovering in the air, Beat at the windows of the brightest heavens, Soliciting for justice and revenge. But they are placed in those empyreal heights 15 Where, countermured with walls of diamond, I find the place impregnable, and they Resist my woes and give my words no way. Enter HANGMAN with a letter. 1 breathe speak ( OED v. 7 ) abroad out in the open air ( OED adv. 3 ) 2 wearied wearièd 3 exclaims exclamations, outcries 4 plaints laments; complaints deceased deceased 5 blustering fig. talking in a loud, aggressive way 6 moved... trees ‘stripped the trees of their leaves’ (Bevington^2 ) 8 marsh an area of low-lying land which is flooded in wet seasons or at high tide 11 passions sufferings ( OED n. 3 ) 12 winged wingèd 15 empyreal of the sphere of fire or highest heaven ( OED empyrean a. 1 ). 16 countermured fortified with an outer wall for additional defence, A dónde iré a exclamar mis penas, mis penas, cuyo peso sobrecargan el mundo? O mis gritos, que han cargado el aire con lamentos incesantes por mi hijo muerto? Los vientos violentos, conspirando con mis palabras, al oír mis lamentos han despojado de hojas a los árboles, han robado a los prados el verde de sus flores, han inundado las montañas con mareas de mis lágrimas e irrumpido por las puertas ardientes del infierno. No obstante, mi alma torturada aún está atormentada, con suspiros rotos y sufrimientos que alados suben y, revoloteando en el aire, golpean en las ventanas de los cielos más brillantes, pidiendo justicia y venganza. Pero éstos situados están en las alturas celestiales, donde, fortificados por muros de diamantes, encuentro el lugar impenetrable; y ellos Se resisten a mis penas e ignoran mis palabras.

This excerpt is a soliloquy spoken by the protagonist of The Spanish Tragedy , a revenge tragedy

written by Thomas Kyd at some point between 1582 and 1592. This play is regarded as the first

prominent revenge play in Elizabethan drama. Like his contemporaries, the so-called University Wits (

a group of playwrights and poets who had studied at Oxford and Cambridge and were familiarised with

the classics and very much influenced by the ideals of the Renaissance), Kyd contributed to develop the

literary and theatrical quality of drama towards maturity. The play follows by the tragedies of the Latin

author Seneca in the theme of revenge, in showing a helpless world full of corruption and malignity, in

using a ghost and choruses and an elevated style; but it also has melodramatic and romantic elements,

and unlike Seneca, shows various plots, explicit violence on the stage, comical episodes.

The play’s main plot deals with Hieronimo’s vengeance for the murder of his son carried out by

the Portuguese prince Balthazar and the King of Spain’s nephew Lorenzo. This soliloquy takes place

after Pedringano has been hanged for having murdered Serberine and before Hieronimo, as Knight

Marshall of Spain, is asked to impart justice by some citizens and an old man who has also lost his son.

The main communicative purpose of this fragment is to show how frustrated the play’s

protagonist is feeling after the murder of his son, and how he is not satisfied by the notion that this

terrible, personal wrong is to be answered by “the heavens”. The basic outline of the speech is:

Hieronimo still needs to express his afflictions (lines 1 - 4); his laments cause great disorder in nature (5-

9); yet his soul is still tortured by sufferings that ask the heavens for “justice and revenge” (10-14), but

they are inaccessible and provide no answer (15-18). Hieronimo’s predicament is reinforced by the

irony that, as a Knight Marshall, his role in society is to impart justice for others, and he feels that when

it comes to his own situation, he is totally helpless. He has tried to ask God (the Heavens) to help him

in his plight, but to no avail. This anticipates Hieronimo’s sense of frustration when justice from the

King will also fail him later in the play (3.12), which will lead him to take matters into his own hands,

and get revenge in the name of his son (3.13).

Regarding the overall structure of the excerpt, we can divide it into two main parts: from line 1 to

9 dealing with Hieronimo’s grief; and from 10 to 18, set in opposition to the first part by the contrasting

connective “yet” since Hieronimo’s laments are helpless in alleviating his tormented soul because the

cause of his suffering is that he is not getting justice from heavens. These two parts, showing an exact

division into equal halves, can be further divided into two sections each (1 to 4, 5 to 9; 10 to 14, and 15

to 18). These sections are also equal in length, each constituting a sentence. This gives a sense of

balance to the speech that, together with alliterations (shown below) in a way recall some features of

the by then fashionable euphuistic style.

As stated above, this fragment is a soliloquy. Soliloquies are frequently used by Hieronimo, a

convention Kyd uses to show the character’s inner conflicts and frustration, which would ultimately

drive him to madness, and to enhance Hieronimo’s central role in the play as he leaves the most

important and emotionally powerful set speeches to the protagonist. Set speeches often include

rhetorical questions, which serve as a way to invoke sympathy in the audience and make them relate to

the characters’ feelings. Kyd’s intention is to show Hieronimo’s state of desperation, thereby bringing

the audience closer to the character. The first four verse lines of the text provide us with a clear

example of this rhetorical device:

Where shall I run to express my woes,

My woes, whose weight hath wearied the earth?

Or mine exclaims, that have surcharged the air

With ceaseless plaints for my deceased son?

No answer is expected but the author makes the audience perceive Hieronimo’s suffering: he does not

know where else to go to complain about his son's death.

This device of asking questions was particularly effective in soliloquies, as on the Elizabethan

stage actors would generally perform soliloquies at the edge of the stage, to be as close to the audience

as possible. This sensation of proximity between audience and character (actor) shows that Elizabethan

Nevertheless, as we find out when we read the rest of the play, Hieronimo will plot and conspire and

will finally attain revenge, even if this means his own self-destruction.

This soliloquy is another example of the view that in The Spanish Tragedy Kyd’s handling of

language contributes to a new kind of drama, a drama of experience in which language is used to

spontaneously express the characters’ innermost thoughts and emotions as experienced at that moment,

in contrast to previous drama in which characters “stated” or “reported” their feelings and thoughts. We

have not yet reached the heights of free rhetoric that Shakespeare employed in his stream of

consciousness, but we can note some important changes in comparison to the language used in plays up

until this point. Namely, verse is a little more flexible: there are a number of enjambments (run-on-

lines), by which the thought expressed in one line is carried on until the next. This is in stark contrast

with the end-stopped lines that characterised previous drama. An example of this can be seen as from

line 10, where Hieronimo describes his tortured soul and passions from one line to the next.

Regarding metre, we can observe the use of blank verse (a form of versification consisting of an

unlimited sequence of unrhymed iambic pentameters), which was first used in Gorboduc (1558), by

Thomas Sackville and Thomas Norton, and proved to be the predominant verse form used in drama.

There are some obvious exceptions to the set pattern. For example, in lines 11 and 12, in order to

emphasise the actions described (“winged,” “mount” etc.), Kyd adds an extra syllable onto line 11 and

changes the stress onto each verb in line 12 (“that,” “winged,” “mount” and “hovering”). Also

interesting is the use of a couplet at the end of the fragment (“they” and “way”). This couple was a

conventional device in Elizabethan drama to indicate the end of a speech (also used to signal the end of

a scene) and here reinforces the climatic idea and conclusion of the soliloquy: that the heavens resist

Hieronimo’s woes soliciting justice.

To conclude, we could also see in this soliloquy an argument to view the play as a victim tragedy

(as opposed to a tyrant tragedy, like Marlowe’s Tamburlaine ). As Hunter explains, in “victim

tragedies” the protagonist creates his or her individuality by enduring and becoming a victim that

carries the sufferings of the world to the point of destroying himself in order to succeed in destroying

the system. This soliloquy exposes one facet of the hero’s suffering and anticipates his political

helplessness, which is the basis of the character’s emotional power (in contrast to Tamburlaine, whose

emotional power is associated with political success). Revenge in the play is not only a personal

satisfaction for a private wrong, but also a means for destroying the corrupt and powerful authorities

that murdered his son. For Hieronimo, revenge is the only “fair” option, even though it will lead to his

own self-destruction.