The structure is an interesting adaptation of Senecan and popular characteristics. The play does not confine itself to the last phase of an action, and it introduces various actions introductory or subsidiary to that of the revenge, and a mixture of comedy. Moreover, everything is represented on the stage with the freedom established in the popular drama. On the other hand, there is much exposition by means of narrative, and Revenge and the ghost of Andrea appear, after Senecan fashion, as a prologue, and after each act as a sort of vestigial chorus. While there is a surplus of violent and external action, the epic, lyric, and reflective scenes picture an inner conflict and supply both aphorisms and a searching psychology. When late in the play Hieronimo's revenge for his son is finally started, it has to contend with both his own hesitation and the intrigues of the villain. Its development, in comparison with "Hamlet," is absurdly faulty because of Kyd's failure to make clear from the start the character of the avenger; but, if it is studied as a first attempt to give structure to a complex theme, the vicissitudes of Hieronimo's irresolution and frenzy will seem carefully designed and strikingly prophetic of the course of Hamlet's struggle. Kyd's skill in devising stage situations is shown by the dramatic value and lasting effect on the public of the scene in which Hieronimo is called from his naked bed to discover the body of his son hanging in the arbor, or of the scene in which, offering a handkerchief to the weeping Senex, he draws forth the bloody napkin which he has kept as a reminder of his son's death. The play within the play, used here as a means of revenge; the scenes in which Isabella "runs lunatick"; the laments and final exultation of the ghost; the exhibition of the body of Horatio after the mock play, found later imitators and became usual accessories of revenge tragedies. Indeed, minor bits of stage business, as the wearing of black, the swearing by the cross of the sword, the capture of the accomplice by the watch, the reading of a book before a soliloquy, the falling on the ground as an expression of grief, though not the inventions of Kyd, were given their later vogue partly through the popularity of this play.