Early Modern drama criticism has been concerned with the parallels between punishment on-stage, performed for an audience in plays such as Thomas Kyd’s The Spanish Tragedy; and punishment as it was enacted on the scaffold. In his play, Kyd aligns this parallel with another: that between revenge and justice. Though separate in one sense, revenge can be understood in terms of justice, and justice therefore seemingly has some qualities in common with its presumed opposite. On top of this, Kyd superimposes the tension between Catholicism and Protestantism. The Spanish Tragedy, then, sets up and destroys a three pronged opposition: the opposition between judicial punishment and theatrical punishment; the opposition between rival forms of Christianity; and the opposition between the public and private revenger. I will discuss each of these oppositions in turn and it is through this lens that I will examine the representation of punishment in the play. Executions are rare, even taboo, as visual representations on the Elizabethan stage. As Foucault explains, ‘the public execution [was] more than an act of justice; it was a manifestation of force, or rather, it was justice as the physical, material and awesome force of the sovereign deployed there.’ Condoning theatrical reconstructions of the public execution could potentially destabilize the officially sanctioned terror of the monarch by, as James Shapiro puts it, ‘showing it often enough to make familiar or by resituating it
Under the different Kings and Queens of Britain, executions were common in these time periods. The many different types of executions that took place and have many unique differences. Why the executions took place, how were the speeches carried out, and how were they staged is something that needs to be examined. There are many sources that explain these different situations and it is a very interesting subject to examine. Each of these different monarchs varied in the way they carried out these executions and had different reasons in why these executions needed to happen. These executions were dependent on many different factors. One of these factors is the gender of the ruling king or queen calling for the execution in this specific
Throughout time, people have served justice for the wrongs of others, often through revenge. Because of this, some people see justice as taking an eye for an eye, and a tooth for a tooth. Shakespeare’s play The Tragedy of Hamlet, Prince of Denmark is no exception. The primary form of justice throughout the play is through revenge. There are three characters who demand and successfully achieve the justice by taking revenge on the wrongdoer. Hamlet seeks justice for his father’s murder, Laertes for the death of his father and sister, and Fortinbras for both the death of his father and the loss of his land.
The play, Romeo and Juliet, written by William Shakespeare, is about a tragedy of two star crossed lovers who want nothing more than to be together forever. “…Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet.” (2.2.35-36) Romeo, a Montague, who is young and passionate, meets Juliet at a Capulet party. When they meet, it’s love at first sight. Juliet, a Capulet, is a beautiful young lady tired of being controlled by her father, Lord Capulet. The two families are in a never ending feud that comes between Romeo and Juliet’s love. In the course of four and a half days, Romeo and Juliet plan their marriage with the help of Priest Friar Laurence and Juliet’s Nurse. After the couple is married,
The relevance and significance of the revenge tragedy is in the way it explores human nature and forces audiences to evaluate ideologies such as revenge and justice. The concept of revenge is accompanied by moral conflict and Shakespeare demonstrates that by acting immorally society is likely to be riddled with corruption. Hamlet seeks to avenge the death of his father but struggles with the ramifications of seeking righteous revenge through an immoral act. The imposition of revenge instills the existential questioning on Hamlet as it contradicts his with his social expectation. His
Peter Meineck’s Oresteia and Thomas Kyd’s The Spanish Tragedy incorporates vengeance and revenge as a motif, which centralizes on the tragic deaths of Clytemnestra and Hieronimo’s children. The two protagonists act out because of a deep and furious anguish over what they perceive as senseless murders of their beloved children, Iphigenia and Horatio. Clytemnestra and Hieronimo view this crime committed by the murderers as an act of betrayal. Thus, it encourages the two protagonists to seek revenge for their own child’s unlawful death. Both parents regard their vindictive motives as justified acts, due to the grief and pain that has been inflicted upon them. This essay examines the similarities and differences of the two protagonists’
In other words, the play is about a court hearing of the witch cases in the Salem society. The court listens to a hysterical believe and executes individuals with no valid evidence. The paper seeks to discuss the theme of hysteria and justice in the play and to demonstrate the way the two themes relate.
First, is hatred, most of the play is basically hatred. People were falsely accuse and hung simply because someone didn't like them. In the old days people really didn't have to have evidence they could just accuse you and you will be hung.
Being publicly hung, quartered and drawn were the most common punishments for anyone who refused the Queen’s rules and regulations and showed disrespect under her rule. Various traditions were used for the death penalty. They included: beheading, hanging, burning, quartering, whipping, starvation etc… Elizabethan citizens were separated into two classes - the Upper Class, consisting of the courtiers, nobles and high ranking members of the Clergy - and everyone else. These ranks contribute to the decision of execution. Execution methods were used to punish condemned prisoners. Cruelty and merciless was shown under the Queen's reign, bring forth pain and needless death. The executioners were ruthless in their servitude to the Queen, never showing guilt for what they had done, they did it to show their devotion and adoration to Queen Elizabeth. Not for one moment did they consider the effect their actions held. This contributed highly to the large number of deaths caused during this time, leading to the development of burial and funeral
Whilst the Greek and Roman predecessors of revenge tragedy showed little compunction in gruesome on-stage violence, the Elizabethan spectators were, by the time of publication and performance of Shakespearian plays, a more educated audience who would appreciate the poetic style and subtle references to classical literature. This is not to say that the sixteenth century public were sensitive to acts of startling brutality; public executions and bear baiting were frequent occurrences that no doubt permeated the psyche of a nation. It has been argued that Shakespeare, conscious of his contemporaries' efforts in this genre decided to `out-do his predecessors' but a far more probable explanation is that Shakespeare, accommodating the
The theory of a scapegoat involves holding an individual or individuals responsible for the faults, misunderstandings, and wrongdoings of others. The role of the scapegoat conveniently allows for those truly at fault to deflect the blame and maintain their virtuous image. In her article, “Shakespearean Comedy”, Maus’ statement about the role of the scapegoat commonly found in Shakespeare’s comedies is accurate as the figure of the scapegoat is unfairly held responsible and excessively punished for the actions of others, as well as excluded from the conclusion of the play (Maus 117). A closer analysis of Shakespeare’s A Midsummer Night’s Dream and The Merchant of Venice reveals the presence of a scapegoat, and its importance and necessity to
The parallels shown between Hamlet and The Spanish Tragedy demonstrate the influence Kyd's play had on Shakespeare. The similarities can be seen throughout the plot lines and context of both plays. While using the plays as different tools, both are used for expediting revenge. Shakespeare, through the impact of Kyd's play, established and perfected an ideal plot for a play expressing revengeful tragedy. The actions and thoughts that Hamlet shows greatly displays many characteristics from The Spanish Tragedy. Hamlet models himself after Hieronimo in the way he approaches revenge. However, Hamlet wants his victims to suffer not only on earth but in the afterlife.
The theme of Revenge has been utilized in numerous works of art throughout history, including books, plays, movies, etc. Revenge is the result of one’s desire for vengeance, however, revenge is known to be implied under high emotions of anger thus not with reason concluding with a horrible outcome. Shakespeare’s play ‘Hamlet’ is no doubt a play about a tragedy caused by revenge; Prince Hamlet’s retribution for his father, King Hamlet’s murder and Laertes vengeance for his father, Polonius’ murder. The theme of revenge in Hamlet is portrayed through various literary techniques such as foreshadowing and irony.
Macbeth is a moral play par excellence. In this, it stands in stark contrast to two more recent well-known tales of murder, Dostoevsky's Crime and Punishment and Camus's The Stranger. In Macbeth Shakespeare presented the moral phenomena in such a way that those who respond to his art must, in some way or another, become better human beings. In Dostoevsky's and Camus's heroic criminals we see the corruption of moral consciousness characteristic of modern literature.
King Lear is frequently regarded as one of Shakespeare’s masterpieces, and its tragic scope touches almost all facets of the human condition: from the familial tensions between parents and children to the immoral desires of power, from the follies of pride to the false projections of glory. However, one theme rings true throughout the play, and that very theme is boundless suffering, accentuated by the gruesome depictions of suffering our protagonists experience . There is no natural (nor “poetic”) justice depicted in this pre-Judeo-Christian world Shakespeare presents, as the relatively virtuous individuals (Kent, Gloucester, and Cordelia) in this
In a New Historic analyzation, it is important to note Hamlet’s madness that leads him to paranoia, revenge, and murder. In Shakespeare’s Elizabethan era, madness was defined as “internalization of disobedience”. Using this definition, it can be interpreted that Shakespeare derives Hamlet’s lunacy from the plea for vengeance made by his father’s spirit. Hamlet feels blameworthy and that