The indebtedness to the earlier revenge plays extends to details of the stage presentation. Revenge is accomplished much as in "The Spanish Tragedy," though by means of a masque instead of a play, and without the death of the hero. From similar scenes in the old "Hamlet" were probably derived the appearance of the ghost at midnight, the cry "Antonio, revenge!" and the second appearance of the ghost to the hero and his mother. The dumb show exhibiting the wooing of Maria, the use of the churchyard, the banquets, carousals, funerals, exhibition of the dead bodies, and the oaths of the conspirators were perhaps already conventional accompaniments of a revenge play. "Antonio's Revenge," however, is not wanting in inventiveness; its abundant horrors and its melodramatically ingenious stage effects were probably recognized as an advance upon the old favorites, and they excited the emulation of succeeding dramatists. The hero, too, is of the Kydian type. Like both Hieronimo and Hamlet, he is a scholar, interested in philosophy and also in theatrical performances. Like them he is distinguished by a tendency to reflection, and struggles in solitary meditation at each crisis in his career. Like them he is driven to the verge of madness by the pressure of his heavy responsibility and by his awakened sense of evil in the universe. Though he does not seek further proof, yet, like Hamlet after the revelations of the play, he becomes frantic and irresolute, neglects an opportunity to kill the duke, and wastes his vengeance upon an innocent child. Like Hieronimo and Hamlet, he is tricky, wild, and ranting. With all his overdrawn passion, however, his mental struggle occasionally attains intellectual depth and tragic power. As he tells us, it was "the stings of anguish," "the bruising stroke of chance" which made him run mad "as one confounded in a maze of mischief."