English drama -- Early modern and Elizabethan, 1500-1600 -- History and criticism; English drama -- To 1500 -- History and criticism
The crisis begins, for the first time, to gravitate towards the centre
of the play. In Classical Drama tragedies open with the crisis. English
tragedies of the Senecan type tend to adopt the same practice:
_Gorboduc_ begins with Videna's report of the proposal to divide the
kingdom; _The Misfortunes of Arthur_ begins with the king's return,
referred to as imminent. Even the first scene of _Doctor Faustus_
presents Faustus rejecting divinity for magic, while Mephistophilis
enters in the third scene. By delaying the crisis, however, two great
advantages are secured: the necessity of the catastrophe is more fully
recognized by the spectators; and their capacity for emotion is not
strained to the point of weariness before the last great scene is
reached. Yet the sense of tragedy must not be entirely absent from the
first part; otherwise the gravity of the crisis will come with too great
a shock. Kyd's purpose in introducing the Villuppo incident is here
discovered. He uses it with much skill as a counterbalance to the aspect
of the main plot. Thus, immediately after the apparent satisfaction of
the rival claims of Horatio and Lorenzo, he places the unsuspected
treachery of Villuppo to Alexandro, as if to warn us not to judge
merely from the surface: but when the wickedness of Lorenzo attains its
blackest moment in the murder of Horatio, he supplies a ray of hope by
the presentment of Villuppo's punishment, to let us know that justice
still reigns in the world. Further, the intense (though needless) grief
of the Viceroy over the supposed death of his son prepares us for the
agony of Hieronimo, while the narrow escape of the innocent Alexandro
excites our repugnance for hasty revenge and makes us sympathetically
tolerant of Hieronimo's equally extreme caution in ascertaining that
Lorenzo really is the murderer. We could wish, perhaps, that Kyd had
found material for these two scenes in the Spanish Court: the transition
to the Portuguese palace is a far and sudden flight. But his recognition
of the artistic need of such scenes is notable and sound.
Public-domain text, read in full here on John Shaqi.
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