Texto utilizado para esta edición digital:
Kyd, Thomas. The Spanish Tragedy. Edited by T.W. Craik. In: Craik, T.W. (ed.) Minor Elizabethan Tragedies. London: J. M. Dent & Sons, 1974.
- Barreda Villafranca, Cristina (Artelope)
Introducción del editor digital
Modifications unique to the EMOTHE digital edition:
Speech prefixes have been expanded, and when needed, added (e.g. III.xiii.1)
All the 1602 quarto “additions” are printed in italics and enfolded by superscript abbreviations Q4, including the stage directions in II.i.69 and 79 that Craik inserts between square brackets.
In III.ii, the second “addition” has been transposed from Craik’s footnote to the main body of the text, and the following “direction” added:
[The last two lines are replaced, in all the quartos from 1602 onwards, by the following lines.]
In IV.iv, section signs “§” have been placed at the beginning and end of the twenty-four lines in the 1592 quarto that are replaced by the fifth “addition”; and whereas Craik inserts the first part of the fifth “addition” in the main text, and the second part in a footnote, this edition includes the whole “additional” passage in the main text, preceded by the following “direction”:
[The previous twenty-four lines, signposted between § signs, are replaced, in all the quartos from 1602 onwards, by the following “addition”.]
- II.iv.78 O no] On no
|Ghost of Andrea, chorus|
|a Spanish nobleman, chorus|
|KING OF SPAIN|
|CYPRIAN DUKE OF CASTILE, his brother|
|LORENZO, the Duke’s son|
|BEL-IMPERIA, Lorenzo’s sister|
|VICEROY OF PORTUGAL|
|BALTHAZAR, his son|
|DON PEDRO, the Viceroy’s brother|
|HIERONIMO, Marshal of Spain|
|ISABELLA, his wife|
|HORATIO, their son|
|DON BAZULTO, an old man|
|ALEXANDRO, portuguese Nobleman|
|VILLUPPO, Portuguese Nobleman|
|PEDRINGANO, Bel-imperia’s servant|
|CHRISTOPHIL, Bel-imperia’s custodian|
|SERBERINE, Balthazar’s servant|
|Three Kings and three Knights in the first Dumb-show.|
|Hymen and two torch-bearers in the second|
|BAZARDO, a Painter|
|PEDRO, Hieronimo’s servant|
|JAQUES, Hieronimo’s servant|
«[The last two lines are replaced, in all the quartos from 1602 onwards, by the following lines.]»
my troth, ’tis likely, if he had not warned me, I should not
have had so much idle time; for we men’s-kind in our
minority, are like women in their uncertainty: that they
are most forbidden, they will soonest attempt: so I now.
—By my bare honesty, here’s nothing but the bare
empty box: were it not sin against secrecy, I would say it
were a piece of gentlemanlike knavery. I must go to
Pedringano, and tell him his pardon is in this box: nay, I
would have sworn it, had I not seen the contrary. I cannot
choose but smile to think how the villain will flout the
gallows, scorn the audience and descant on the hangman,
and all presuming of his pardon from hence. Will’t not be
an odd jest for me to stand and grace every jest he makes,
pointing my finger at this box, as who would say: “Mock
on, here’s thy warrant.” Is’t not a scurvy jest that a man
should jest himself to death? Alas! Por Pedringano, I
am in a sort sorry for thee, but if I should be hanged with
thee, I cannot weep.
with a halter to disfurnish me of my habit. So I should
go out of this gear, my raiment, into that gear, the rope.
But, hangman, now I spy your knavery, I’ll not change
without boot, that’s flat.
the day goes away.
to break your old custom.
to break your knave’s pate for this.
you will never grow so high while I am in the office.
a new truss?
honester man than either thou or he.
you should rather hearken to your soul’s health.
the body is likewise good for the soul; and, it may be, in that
box is balm for both.
that e’er groaned at my office door.
with a thief’s name.
see here’s a good fellow —
other time; for now I have no great need.
sir, he that was so full of merry conceits —
fair commission to the contrary. Sir, here is his passport;
I pray you, sir, we have done him wrong.
or a sigh? Canst paint me such a tree as this?
do you see, I’d have youpaint me in my gallery, in your
oil-colours, matted, and draw me five years younger than I
am —do ye see, sir, let five years go; let them go — like
the Marshal of Spain. My wife Isabella standing by me, with
a speaking look to my son Horatio, which should intend to
this or some such-like purpose: God bless thee, my sweet
son;’ and my hand leaning upon his head, thus, sir; do you
see? —May it be done?
paint me this tree, this very tree. Canst paint a doleful cry?
youth run through and through with villains’ swords, hanging
upon this tree. Canst thou draw a murderer?
beards be of Judas his own colour; and let their eye-brows
jutty over: in any case observe that. Then, sir, after some
violent noise, bring me forth in my shirt, and my gown under
mine arm, with my torch in my hand, and my sword reared up
thus: —and with these words:
‘What noise is this? Who calls Hieronimo?’
May it be done?
alley, still with a distracted countenance going along, and let
my hair heave up my night-cap. Let the clouds scowl, make
the moon dark, the stars extinct, the winds blowing, the bells
tolling, the owl shrieking, the toads croaking, the minutes
jarring, an the clock striking twelve. And then at last, sir,
starting, behold a man hanging, and tottering, and tottering, as
you know the wind will wave a man, and I with a trice to cut him
down. And looking upon him by the advantage of my torch, find
it to be my son Horatio. There you may show a passion, there
you may show a passion! Draw me like old Priam of Troy,
crying: ‘The house is afire, the house is afire, as the torch
over my head!‘ Make me curse, make me rave, make me cry,
make me mad, make me well again, make me curse hell,
invocate heaven, and in the end eave me in a trance —and so
I am never better tan when I am mad, then methinks I am
a brave fellow, then I do wonders: but reason abuseth me,
and there’s the torment, there’s the hell. At the last, sir, bring
me to one of the murderers; were he as strong as Hector,
thus would I tear and drag him up and down.
«[The previous twenty-four lines, signposted between § signs, are replaced, in all the quartos from 1602 onwards, by the following “addition”.]»