of the meeting
between Hieronimo and Bazulto was recognized by that other writer who
added the 'Painter' episode in close imitation of it. But almost as
bitter in its irony is the position of Hieronimo as judge, executing
justice upon Serberine's murderer while his own son's murderers go scot
free. Grimly ironical, too, is Castile's satisfaction in the
reconciliation of Lorenzo and the Marshal, and grimmer and more ironical
still the request for the fatal play by Lorenzo and Balthazar
themselves, who of all men should most have shrunk from it. The most
critical element in the general harmony of the play is the character of
Bell'-Imperia. Kyd's women are his weak point, and this heroine is no
brilliant exception. We certainly do not fall in love with her. But his
sense of what is needed for the right tragic effect carries him through
successfully in essential matters. Were Bell'-Imperia weak, irresolute,
had she the feeble constancy of Massinger's or Heywood's famous
heroines, there would be a wrecking flaw in the accumulated, resistless
demand for revenge. As it is, her love for Horatio is passionate (though
lacking delicacy), her responses to Balthazar's advances are cold, and
her reproachful words to Hieronimo, for his delay in striking, proclaim
her entirely at one with him in his final action. The part played by
Isabella is also subordinated to the total effect. It may be questioned
whether her madness does not weaken by exaggeration the impression made
by Hieronimo's frenzy; but it must be remembered that her part was
provided before the additional mad scenes, the work of the later hand,
were included in the play. Kyd deliberately chose that her madness
should precede and prepare us for the madness of Hieronimo, and it must
be admitted that the interpolator's departure from this order has little
to be said in its favour. As the weaker character, Isabella should be
the first to collapse. Her frantic death, just before the 'play',
emphasizes the imperative necessity that the long postponement of
justice should be ended at last. With never failing watchfulness of his
audience Kyd softens the tension directly afterwards with a few light
touches on the staging and disguises required for the forthcoming
performance. Lastly, the choice of a court tragedy as the instrument of
Hieronimo's revenge is admirable alike for its naturalness and for
dramatic effect as a flashlight re-illumination of Lorenzo's and
Balthazar's crime