_Balthazar._ First, in his hand he brandished a sword, And with that sword he fiercely waged war, And in that war he gave me dangerous wounds, And by those wounds he forced me to yield, And by my yielding I became his slave. (_The Spanish Tragedy_, Act II.) Finally, the play acted at the close of _The Spanish Tragedy_ comprises the main characters and general drift (with marked differences) of the plot of _Soliman and Perseda_. This, in itself no proof of authorship, provides us with a clue to date. It is not likely that the author deliberately altered the plot of a well-known play. Yet we know from Ben Jonson that Kyd's tragedies were very popular. We shall be more safe in concluding that the wide popularity of that scene in _The Spanish Tragedy_ led him to extend the minor play to the proportions of a complete drama, making such changes as would then be most suitable to a larger groundwork. This view is supported by the decreased use of rhyme, intermingled with the blank verse, in _Soliman and Perseda_. The play, then, may be approximately dated 1588-90. It would be as well to dismiss _Cornelia_ at once. Wholly Senecan and dull, it is merely a translation of a French play of the same name by Garnier. As such it has no interest for us here. _Jeronimo_ derives its name from one of the principal characters, but it is really the tragedy of Andrea. This nobleman's appointment as ambassador from Spain to Portugal arouses the jealous enmity of the Duke of Castile's son, Lorenzo: it is also the means of his introduction to the man who is to bring about his death at the end, Prince Balthezar of Portugal. The catastrophe, therefore, may be said to start from that point. Lorenzo's intrigues begin at once. Casting around for some one apt for villainous deeds, he bethinks him of Lazarotto, A melancholy, discontented courtier, Whose famished jaws look like the chap of death; Upon whose eyebrows hangs damnation; Whose hands are washed in rape and murders bold.