Spanish tragedy. Thomas Kidd founder of the pathetic, "bloody" tragedy

Written between 1582 and 1592, until 1612 it was published without the name of the author. The play served as the beginning of a new genre in the English theater, the so-called "revenge tragedy", because. the plot is replete with bloody murders and is built around the protagonist's revenge for the death of his son.

Some elements of The Spanish Tragedy appear in Shakespeare's Hamlet (the "play within a play" technique and the appearance of a ghost calling the hero to revenge).

In the English-speaking world, the play is actively studied in the university curriculum, but in recent times there have been few attempts to stage it, apart from amateur ones made by students. The exceptions are productions by the Royal Shakespeare Company (1995-1996, directed by Michael Boyd) and London's Arcola Theater (2009, directed by Mitchell Moreno).

Editions in Russian

Kid, Thomas. Spanish tragedy. Translation by A. Anixt, D. Khaustova. Ed. RATI - GITIS, 2007.
Kid, Thomas. Spanish tragedy. Translation by Mikhail Savchenko. The publication was prepared by N. E. Mikeladze, M. M. Savchenko. M.: Nauka, Ladomir, 2011. (Literary monuments)

Links

Kid T. Spanish tragedy (excerpt - act IV) / Per. A. Aniksta. M. : DB "Shakespeare's Contemporaries", 2012.

Wikimedia Foundation. 2010 .

See what "Spanish tragedy (play)" is in other dictionaries:

A large form of drama, a dramatic genre, opposed to comedy (see), specifically resolving the dramatic struggle with the inevitable and necessary death of the hero and distinguished by the special nature of the dramatic conflict. T. has as its basis not ... Literary Encyclopedia

Spanish Renaissance culture- The completion of the reconquista and the unification of Castile and Aragon gave a powerful impetus to the development of Spanish culture. In the 16th and 17th centuries, it experienced a period of prosperity known as the "Golden Age". At the end of the XV and the first half of the XVI century. in Spain… … The World History. Encyclopedia

This term has other meanings, see Rosencrantz and Guildenstern are dead. Rosencrantz and Guildenstern are Dead Genre: tragicomedy

Main article: Moscow Maly Theater repertoire Here is a list of productions of the Moscow Academic Maly Theater of Russia for the 20th century. Contents 1 1900s 2 1910s 3 1920s 4 ... Wikipedia

This term has other meanings, see Hamlet (meanings). Hamlet The Tragical Historie of Hamlet, Prince of Denmarke ... Wikipedia

"Hamlet" redirects here. See also other meanings. Hamlet, Prince of Denmark The Tragicall Historie of Hamlet, Prince of Denmarke Genre: Tragedy

It originated in the depths of medieval culture, in church rituals, and was at first a symbolic pantomime illustrating the liturgy and decorating the Easter and Christmas services. Then the pantomime began to be accompanied by a text in Latin. ... ... Collier Encyclopedia

- (Kyd, Thomas) (1558 1594), English playwright. Born in London, christened 6 November 1558; from 1565 he studied at the Merchant Taylors school. His further biography is restored only fragmentarily. After completing his studies, he apparently followed in the footsteps of his father, ... ... Collier Encyclopedia

- (Scand. Amled, eng. Hamlet, fr. Hamlet) 1. hero of the Scandinavian legends of sagas. This is a cunning avenger, who for a long time pretended to be crazy in order to avoid the danger that threatened him and achieve his secret goal of revenge on his father's killer. The legend about this... literary heroes

I Contents: A. Geographical outline: Position and boundaries Surface arrangement Irrigation Climate and natural products Space and population Emigration Agriculture Cattle breeding Fishing Mining Industry Trade ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

Books

, Aksyonov I.A. Several thousand books and articles, essays and critical reasoning have been written about Hamlet. And to this day, this play by Shakespeare remains unreleased to the end. Close attention to genius...
Hamlet and other experiments to promote domestic Shakespeareology, Aksyonov I.A. About 171; Hamlet 187; several thousand books and articles, essays and critical reasoning have been written. And to this day, this play by Shakespeare remains unreleased to the end. Close attention to genius...

SPANISH TRAGEDY

Realizing that for the success of the blockade it is necessary to tightly cover all the European coasts, Napoleon after Tilsit threw the most incredulous glances at the Iberian Peninsula. The Spanish Bourbons and the Portuguese Braganzas outwardly expressed loyalty, but in fact did not intend to completely break with England.

The British, having lost all allies, became hardened. When word reached them that Denmark was about to join the continental blockade, the British fleet subjected Copenhagen to a hurricane bombardment, and the landing force captured all the Danish ships. Napoleon was furious - according to the secret annex to the Tilsit Treaty, these ships were supposed to go to him. And he reasoned that it was impossible to wait idly for the same raid on the Iberian Peninsula.

The first was an invasion of Portugal. On November 28, 1807, the army of General Junod, freely passed through Spanish territory, entered Lisbon. The Portuguese could not put up any serious resistance, and their prince-regent Juan with his family and court three days before the fall of the capital sailed to Brazil on English ships.

In Spain, the weak and narrow-minded Charles IV sat on the throne (to see that this is so, just look at the portraits of Goya). In fact, don Godoy, the favorite of his wife, ruled. The government of the country was in complete disarray, trade, agriculture, once developed industry fell into ever greater decline;

The advanced layers of the nobility, the bourgeoisie, the common people were united in their discontent. Hopes for rectifying the situation were associated with the heir to the throne, Ferdinand, especially since people knew that the queen and Godoy were hostile to him. And many began to think about the marriage of the prince with some relative of Napoleon: then, with the support of powerful France, it would be possible to carry out progressive reforms. But when Ferdinand asked the emperor for the hand of his niece, he was refused. Napoleon had his own plans for Spain: he wanted to completely expel the Bourbons from there and plant a new dynasty.

Under the pretext of a war in neighboring Portugal and the threat of an English invasion, more and more French troops were introduced into the country; by March 1808, their number had already reached 100 thousand people. Taking advantage of the aggravation of strife at court, Murat, who commanded them, moved to Madrid.

Upon learning of this, the king, queen and Godoy fled the capital. But they were detained by the excited people. Godoy was beaten and sent to prison, and the king was forced to abdicate in favor of Ferdinand.

A week later, on March 23, 1808, Murat's troops entered Madrid. At first, the Spaniards greeted them with joy, believing that further events would unfold according to the desired scenario. But Napoleon, declaring that he was taking on the role of an impartial judge, demanded to himself in Bayonne (in the south of France) both Charles and Ferdinand, and in general all the princes.

The Spaniards guessed what was going on: having got the Bourbons into their own hands, Napoleon would establish French rule in the country, and then generally annex it to France. On May 2, a popular uprising broke out in Madrid against the French. A lot of blood was shed on both sides, after the suppression, a brutal reprisal was perpetrated against the patriots (remember the paintings of the same Goya devoted to these events - there are few more amazing than them in world art).

Meanwhile, the royal family was brought to Napoleon in Bayonne. After admiring the stormy clarification of family relations, during which the king waved a stick at his son, he announced his decision: they both must renounce the throne and transfer to him the right to restore order in Spain at their discretion. And they had to agree.

On May 10, 1808, Napoleon ordered his brother Joseph to change the Neapolitan crown to the Spanish one. And in Naples, the dashing cavalryman Marshal Joachim Murat took the throne. The former Spanish king and queen were assigned to live in Fontainebleau, and Ferdinand and other princes - in Balance, near the castle of Talleyrand.

It would seem that the operation was carried out flawlessly. Now Spain will become an appendage of raw materials and a monopoly French market, all of its richest colonies on the American continent will suffer the fate of the metropolis.

But such a thing began in the country that if Napoleon had known in advance, he would have thought ten times before sending an army beyond the Pyrenees. Everywhere people's war broke out, without requests for mercy and without mercy. Resistance to the invaders was fierce. For example: a young mother invites hungry French soldiers to a richly laid table, and when they demand that she first eat herself and feed the baby, she agrees with a smile. After a short time, everyone dies in agony: the woman, the child, and the French.

This war lasted a long time, until 1814. Not everything was simple: Joseph Bonaparte convened the Cortes (Spanish parliament) in Madrid, the new government found some support among part of the population. But it was of little consequence.

An event that shook all of Europe and gave hope to the conquered peoples occurred already in July 1808. General Dupont with a 20,000-strong French army was surrounded near Bailen in Andalusia by numerically smaller Spanish forces, a significant part of which were poorly armed partisans - and after the battle shamefully capitulated.

Napoleon arrived to restore order himself. By that time, the British troops that had landed in Portugal had managed to occupy Lisbon. The entire south of Spain was in the hands of the rebels - the French rather confidently controlled only the north. The emperor managed to rectify the situation somewhat. With him came a significant number of Poles who valiantly served the freedom of their fatherland, killing the Spaniards fighting for independence (they called them "infernal tormentors").

Napoleon inflicted a crushing defeat on the Spaniards near Burgos. But personally, he could not stay in Spain for a long time, and the whole burden of leading the struggle fell on his marshals.

The unparalleled defense of the crowded Zaragoza went down in history. In February 1809, the French, after a two-month siege, broke into the city, but they were met with desperate resistance from both soldiers and all residents, young and old, even monks and nuns - on every street, in every house. Few made it out of this massacre alive. Marshal Lann, who had traveled around the streets strewn with bodies, burst out: “What a war! Being forced to kill so many people, even crazy people! Such a victory brings only sadness. In Zaragoza, 20 thousand soldiers who defended it and 32 thousand civilians were killed. The news of this defense in Prussia made a particularly strong impression - they could compare the behavior of the Spaniards with their own.

The English army operating in the peninsula tended to win victories, especially after it was led by General Lord Wellington (Napoleon's future victor at Waterloo). He began by recapturing the Portuguese Oporto from the French (they, having captured the city in February 1809, carried out a monstrous massacre in it, in which about 10 thousand inhabitants died).

Spain was a constant source of huge French losses, but she herself sacrificed many more lives. The hussar poet Denis Davydov rightly said that Europe owes its liberation to two peoples living at its different extremities - the Spaniards and the Russians.

From the book History of Russia XVIII-XIX centuries author Milov Leonid Vasilievich

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From the book The Greatness and Fall of Rome. Volume 2. Julius Caesar author Ferrero Guglielmo

XIII Spanish War Italy and the Civil War. - Caesar after the flight of Pompey. - Caesar on the road to Rome. - Appointment of Caesar with Cicero. - Caesar in Rome. - Violence of Caesar over the tribune Metellus. - Pompey's army in Spain. - Massalia. - Caesar's policy in Gaul. - Anthony. -

From the book Spain. Country history author Lalaguna Juan

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From the book Canaris. Head of military intelligence of the Wehrmacht. 1935-1945 author Abjagen Karl Heinz

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From the Alhambra book author Irving Washington

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Thomas Kid

Thomas Kid. Spanish tragedy / Prepared. ed. N. E. Mikeladze, M. M. Savchenko. Translation by M. M. Savchenko. Moscow: Ladomir; Nauka, 2012. 328 p.

The series “Literary Monuments” has an old debt to Shakespeare and his era: not a single volume has been dedicated to him or his contemporaries to this day! Let's compare the two greatest traditions: the ancient Greek theater and the Elizabethan drama - the first is published in an exhaustive variety of names and volumes, but the Elizabethans? Shakespeare once took refuge with "Troilus and Cressida" after Chaucer (2001), K. Marlo with "The Tragedy of Dr. Faust" - in the volume about Faust (1958, 1978), J. Webster "The White Devil" - in the volume of Ludwig Tieck (2002 ). It's all!

In the 1984 series reference book, Hamlet was widely promised - with the inclusion of various sources, a translation of the German play "Punished Suicide" and fragments from 20 Russian translations from A. Sumarokov to B. Pasternak. Alas... More Shakespeare was not promised and released.

The release of The Spanish Tragedy in Literary Monuments is an event and a promise, at least a hope that the series will finally take on Shakespeare and provide a model for his modern edition. Let's not forget that the publication of the turn of the 1950-1960s remains the exemplary Russian Shakespeare. The last 20 years have been very carried away by the "Shakespearean question", but Shakespeare - like Firs - has been forgotten.

In view of these circumstances and hopes, it is necessary to evaluate the work done - a new translation and, most importantly (for evaluation in "Questions of Literature"), a scientific apparatus, including two accompanying articles and notes by N. Mikeladze.

The Kid is a happy return to the Shakespearean era. If not everything started with The Spanish Tragedy (depending on how to solve the issue of dating), then it remained the loudest and longest-running hit for two decades of the fleeting history of the Elizabethan drama. The text had to be edited and supplemented as the audience's taste changed. Additions, as well as a ballad that sets out the content and confirms the popularity of the play, are included in this edition, which presents the classic text in dynamics and in the process of existence.

The date of the appearance of the "Spanish Tragedy", like many other things (by no means only for Shakespeare), is the subject of hypotheses and conjectures. Most likely, the play was staged on the eve of the defeat of the Invincible Armada - in 1587 (N. Mikeladze adheres to this date) or immediately after 1588. The very name of the playwright as an author is vaguely seen, since all 10 publications over 40 years are anonymous. The only direct reference to the author is found in Thomas Heywood's Apology for the Actors, which appeared a quarter of a century after the production of The Spanish Tragedy (1612). N. Mikeladze rightly begins the conversation about the first events of the Elizabethan theater with the "tradition of anonymity", which has not yet been overcome since the Middle Ages (p. 159).

If the "lost years" in Shakespeare's biography take about 7 years, then Kid's - a quarter of a century. With regard to Kid, it is not the circumstances of life that are better known, but the circumstances of death associated with the reading of Marlo's atheistic and immoral treatise, with which, as Kid says in a letter of exculpation, they "wrote in the same room." The biographical closeness looks somewhat unexpected, since they belonged to different generations (although Kid is only 8 years older) and different literary groups. Even before they responded jealously to Shakespeare's first success, the "university wits" were no less harshly acclaiming Kid, also a grammar school graduate. Grammarian, as T. Nash's preface to R. Green's "Menathon" is said collectively and with contempt.

This pamphlet work, somewhat less known than Green's penitential treatise (where for the first time there is a clear allusion to Shakespeare - Shake-scene), attracts more and more attention and should be read in the work on Kid for every word, for every hidden allusion. Green had repented in 1592; Nash had written three years earlier in 1589. For as long as it has been believed, Green responded to the success of Shakespeare, Nash to the success of Kid. It is for this reason that the tragedy "Hamlet" (great-"Hamlet"), which was first mentioned by Nash, was usually considered to be Kid's author, since it appeared in a Kidian context. N. Mikeladze joins the majority: “So, most scientists agree that the Nash invective<...>was most likely directed against Thomas Kidd...” (p. 161).

In this statement, you should change the time - " were agree, anyway. Over the past two decades, very strong arguments have been made in favor of the fact that Shakespeare stands next to Kid in the preface to Menaphon, which means that the question of the authorship of the pre-Hamlet is open again.

Nash's preface is given insufficient attention in the afterword by N. Mikeladze. Even what is quoted is not always accurately interpreted: "The man referred to in Nash's preface 'was born to be a clerk (Noverint)'"<...>(notary is Kid's father's job)" (p. 160). Kid's father reached a position in the legal profession, perhaps Kid was also trained for it, but Nash's caustic allusion plays on a completely different and then main meaning of the word Noverint. In the Oxford Dictionary (OED), only in the third sense is it applicable to a notary (applied to a scrivener). In the first sense, this word (with reference to Nash) means the writing of papers (judicial); in the second (with reference to Green) - what is written, or the one who writes. Can you call him a clerk? Rather, a scribe, but the correspondence / inconsistency of terms in this case is not the main thing, since Nash used the word not only to define the profession, but to hurt, to hint that in his work Kid was nothing more than a copyist working for the brink of plagiarism. And this reproach is probably not addressed to him alone, but also aims at Shakespeare. After all, his "witty thinkers" will be accused of copying / appropriating someone else's.

With regard to the biography, about which we know so little, and without which the beginning of the great theatrical tradition will remain obscured, it is necessary to check all possible connections. The circle of communication at that time was determined by the figure of the philanthropist-patron. Did Kid have one? Kid's letter to him has been preserved, but he is not named, so again - a guessing game: Ferdinando Stanley, Lord Strange, or Henry Herbert, Earl of Pembroke (hence the dedication to his wife of the translation from French - Garnier's tragedy "Cornelia")?

The accompanying articles, especially the first of them, “Thomas Kid and the Spanish Tragedy”, are large and redundant, because they are lengthy, descriptive, and its sections are school-style titled: “Plot and composition ...”, “Image system and conflict...” Here there is something to sacrifice for the sake of more detailed biographical investigations, appropriate in a volume that introduces a writer in Russia for the first time, and, moreover, a writer whose creative fate is mysteriously and inextricably intertwined with Shakespeare's. In a conversation about the genre, for which the second article is reserved - "Hamlet" and the tragedy of revenge (Shakespeare and the Kid) - one is surprised by the lack of works of the last two decades. But the tragedy of revenge continues to be intensively dealt with.

With regard to the commentary, we rely on what is done by English-speaking researchers. The work of assimilation also lies ahead in the editions of Shakespeare. I think that it is worth specifically stipulating our own additions to the existing commentary, if any, making it more authorial. Of course, by additions, I mean not something that is not commented on in English-language publications of the academic type, but for some reason still haunts us: “ Charon - carrier of the dead in the underworld of the dead” (p. 282), “ Hector - son of the Trojan king Priam...” (p. 283)...

If someone does not know this, then let him find another source of information. In the commentary on the English tragedy, if it is necessary to comment on mythological names, then it is not at all like this: to establish the source of the common knowledge of that era and the peculiarity of their use in the text. Moreover, these “features” do not need to be created in translation, which happens. Is it really said in the original about Charon - "evil ignoramus" (I, sc. 1, p. 20)? It says "churlish", and this corresponds to the myth, where Charon is a rude person, but there is no question of how educated he is.

It is the responsibility of the one who is listed as the “responsible editor” - A. Gorbunov, to determine or clarify the principles of publication. In the apparatus of this book, there is something to add and something to remove, so that the merits of the work done by Mikeladze look more unconditional.

Translation is a separate issue. Now we note only one fundamental thing that catches the eye from the first lines, to which there is a note (3 on page 282): they "were among the most frequently quoted and parodied ..." A list of those who parodied is given. But try to parody the lines uttered by the ghost of Andrea in the translation of M. Savchenko: “When my immortal soul / In the power of the base flesh lived, / And the union was beneficial to both ...”

The difficulty of the translation task is understandable - to convey the loudness and deliberateness of the Senecian rhetoric. But here the parodist simply has nothing to grab hold of, since the point is not that the translator cannot cope with the task, but, it seems, is not aware of it and does not set himself. The translation erases the features of a style that claims to be philosophical: “When the eternal essence of my soul / Lived in playful flesh, / And the function of each was for the benefit of the other ...” Kid expresses an eternal thought, trying to avoid banality (and falling into pretentiousness, open parodies), the translator of this very banality meekly surrenders.

The most famous assessment of the Kid is given by Ben Jonson in Poems in Memory of Shakespeare. Just one epithet - sporting Kyd. N. Mikeladze interprets him as "Kid who is fond of the game" (p. 165). Hardly, rather - "playing"; erudite and Latinist Johnson (like no one who knows Kid, since it was he who was entrusted with modernizing the text) used an analogue of the Latin epithet, quite common in relation to poetry, - ludens, which in this context can also mean “stage”, since the main advantage of this text is a long life on stage.

Kid opened the way for Elizabethan drama in the Literary Monuments series by discovering the problems of publishing these texts. It is important to take them into account, because there is someone to follow Kid.

I. SHAITANOV

S N O S K I

He was chiefly known for his Spanish Tragedy (c. 1584), which had a long history in London theaters. In the construction technique of the "Spanish Tragedy" the techniques of the tragedies of Seneca and medieval English drama are skillfully combined; here the spirit of the slain appears, accompanied by the allegorical figure of Revenge, who predict future events and at the same time play the role of a chorus summarizing everything that happens before the viewer's eyes. Going back to plays such as "Gorboduk" or "Cambise", "Spanish Tragedy", however, in comparison with them takes a significant step forward: its characters are outlined more clearly and stand in closer connection with the development of the action; it is a tragedy of revenge, raging with violent force in the hearts of offended people.

One of the central figures of this tragedy is the old Spaniard, the courtier Jeronimo, who avenges the death of his son Horatio, who was secretly murdered by the Spaniard Lorenzo and the Portuguese heir Prince Balthazar, who was a prisoner in Spain; once Horatio gave him life on the battlefield. The reason for the murder was Balthazar's love for Horatio's beloved Bellimperia. Hieronimo finds his son's corpse, but does not know the killers. Having received information that they are high-ranking officials, he does not want to believe this for a long time, hesitates, puts off plans for revenge, pretends to be crazy in order to finally ascertain the truth. When the Portuguese king comes to Spain to free his son from captivity, Hieronimo comes up with a subtle revenge on the killers. He arranges a theatrical performance at court, in which he himself, Bellimperia, Lorenzo and Balthazar participate. In the final scene, under the guise of an ongoing spectacle, Hieronimo actually stabs Lorenzo to death, and the girl stabs Balthazar; then they kill themselves, revealing in pathetic monologues the secret of the crime and the revenge it caused.

Thus, like "Gorboduk", "Spanish Tragedy" ends with the death of all the characters, but in "Gorboduk", according to the methods of ancient drama, the murders take place behind the scenes, and in "Spanish Tragedy" everything takes place in front of the viewer, as in a medieval drama . In plot situations and technique, Kid's plays have much in common with Shakespeare's Hamlet (the theme of revenge, the appearance of the ghost of the murdered man, feigned madness, a play within a play, etc.). This is all the more interesting because it is Kid who is credited with the play about Hamlet that has not come down to us, which preceded Shakespeare's.

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